GET OUT review
GET OUT
starring Daniel Kaluuya and Allison Williams
directed by Jordan Peele
A review by Helen J. Reynolds
Get Out is a horror suitably set in suburban America and rather than demons, ghosts and creepy kids, this film makes nightmares from deep-rooted racism.
Samuel L. Jackson criticised the casting of British actor Daniel Kaluuya who plays Chris, a black man dating Rose (Allison Williams), a white woman, feeling an African-American would have more authenticity to give to the role. A fair point since racism is alive and well in America, with tension between the black communities and police too many times resulting in tragedy. Even their prison system is - as the Oscar nominated 13th documentary points out - really a system that perpetuates slavery.
However, I feel Kaluuya was rightly cast. His performance in Black Mirror episode "Fifteen Million Merits" is not so dissimilar, in both he plays a character in a powerless situation, horrified by the twisted world he's trapped in.
The plotting of a horror can often be its downfall. We know the game and sometimes it can feel like going through the motions; rather than jumping scared we're more likely to roll our eyes. Get Out is not a masterpiece in terms of plot and there are some gaping holes in the revelation, but it does the conventions in a modern, believable way. Chris and Rose are a plausible couple in a bad situation; her family are highly educated and welcoming which makes the idea that they're racist deeply unsettling.
Perhaps the best addition is the humour sparked by Chris's friend, Rod (LilRey Howery) who plays a TS-motherfucking-A agent. You aren't likely to forget him. He acts as a bridge to the audience, making us laugh but also saying what we're all thinking, connecting the dots and yelling them down the phone. There's a Scary Movie element about this but also a nice mirroring to Chris's past where as a child he didn't act in an emergency, instead sat waiting in the dark. Likewise, Rod needs to do more than talk or google-search (though, if we're honest, if it was us, we might still be hesitant to go out guns blazing).
The surreal nature of this movie is the essence of its success. The weird suburban neighbourhood (fittingly isolated) reads like Stepford Wives and the sea of white faces with black servants in the background is disconcerting not only to Chris, but to a modern-day audience. Betty Gabriel plays Georgina, the house servant and her performance is particularly compelling; changing moods frequently, haunting corridors or simply staring at her reflection for long periods...
A brilliant bizarre soundtrack also adds to the tone. "Run Rabbit Run" makes for an excellent beginning sequence and there's an unnerving, hypnotic feel to "Redbone" that leads the opening and closing credits.
Overall, a surprisingly fresh horror that ticks the boxes but also has a real message and relevance. There's emotion and subtly as well as those goose-bump moments. A perfect combination. Disappointingly, the end changes direction, stepping away from all the previous build-up to do a cliché and over-the-top finale. It still works but is not nearly on the same level as the rest of the movie.
starring Daniel Kaluuya and Allison Williams
directed by Jordan Peele
A review by Helen J. Reynolds
Get Out is a horror suitably set in suburban America and rather than demons, ghosts and creepy kids, this film makes nightmares from deep-rooted racism.
Samuel L. Jackson criticised the casting of British actor Daniel Kaluuya who plays Chris, a black man dating Rose (Allison Williams), a white woman, feeling an African-American would have more authenticity to give to the role. A fair point since racism is alive and well in America, with tension between the black communities and police too many times resulting in tragedy. Even their prison system is - as the Oscar nominated 13th documentary points out - really a system that perpetuates slavery.
However, I feel Kaluuya was rightly cast. His performance in Black Mirror episode "Fifteen Million Merits" is not so dissimilar, in both he plays a character in a powerless situation, horrified by the twisted world he's trapped in.
The plotting of a horror can often be its downfall. We know the game and sometimes it can feel like going through the motions; rather than jumping scared we're more likely to roll our eyes. Get Out is not a masterpiece in terms of plot and there are some gaping holes in the revelation, but it does the conventions in a modern, believable way. Chris and Rose are a plausible couple in a bad situation; her family are highly educated and welcoming which makes the idea that they're racist deeply unsettling.
Perhaps the best addition is the humour sparked by Chris's friend, Rod (LilRey Howery) who plays a TS-motherfucking-A agent. You aren't likely to forget him. He acts as a bridge to the audience, making us laugh but also saying what we're all thinking, connecting the dots and yelling them down the phone. There's a Scary Movie element about this but also a nice mirroring to Chris's past where as a child he didn't act in an emergency, instead sat waiting in the dark. Likewise, Rod needs to do more than talk or google-search (though, if we're honest, if it was us, we might still be hesitant to go out guns blazing).
A brilliant bizarre soundtrack also adds to the tone. "Run Rabbit Run" makes for an excellent beginning sequence and there's an unnerving, hypnotic feel to "Redbone" that leads the opening and closing credits.
Overall, a surprisingly fresh horror that ticks the boxes but also has a real message and relevance. There's emotion and subtly as well as those goose-bump moments. A perfect combination. Disappointingly, the end changes direction, stepping away from all the previous build-up to do a cliché and over-the-top finale. It still works but is not nearly on the same level as the rest of the movie.
A combination of:
The Purge (2013)
The Stepford Wives (2004)
Meet the Parents (2000)
© Helen J. Reynolds, 2017
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