{"id":24666,"date":"2017-03-14T17:03:13","date_gmt":"2017-03-14T21:03:13","guid":{"rendered":"http:\/\/cinema-crazed.com\/blog\/?p=24666"},"modified":"2017-03-14T17:05:34","modified_gmt":"2017-03-14T21:05:34","slug":"get-out-2017","status":"publish","type":"post","link":"https:\/\/www.cinema-crazed.com\/blog\/2017\/03\/14\/get-out-2017\/","title":{"rendered":"Get Out (2017)"},"content":{"rendered":"

\"\"<\/a>Jordan Peele has effectively fired off the starting gun of what I think will become an landscape of cinema filled with social commentary about the racial climate, and division among a certain kind of people. As with all horror movements, Peele expertly crafts a movie that reflects the racial relations of modern America, and how there is a thin line between acceptance and cultural appropriation and fanaticism. Peele is a man who has devoted most of his career to brutally sharp and funny comedy, and here he delivers what is a darkly comedic but very scary tale about cults, the racial dynamic and what is arguably the next movement in the racial hysteria in the country. \u201cGet Out\u201d derives a lot of uncomfortable laughter from the audience, but it has a lot to say about the extremes of racism, and the sheer horror of pure ignorance and naivete.<\/p>\n

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Chris is going to visit his new girlfriend Rose\u2019s parents in their massive house in upstate New York for what promises to be an important weekend affair. As Chris becomes socially comfortable with Rose\u2019s parents Missy and Dean, he realizes that there\u2019s something sinister boiling beneath the surface of their overly accommodating behavior, and continued insistence of being accepting of race. Despite the obvious tension, Chris sticks it out when Rose\u2019s parents host a large gathering of friends, and slowly begins to realize he\u2019s trapped in a nightmare, as he begins investigating his environment right down to Missy and Dean\u2019s meek black servants. Director and Writer Jordan Peele has a knack for the surrealism, deriving a great amount of nightmarish tension at every turn. The moment Chris arrives at Rose\u2019s parents house, there is obviously something amidst, but once he\u2019s forced to integrate in to Rose\u2019s life, it becomes apparent that he\u2019s running out of options to outright turn around and escape potential harm.<\/p>\n

Director and writer Peele is skilled at amping up tension within his narrative, as \u201cGet Out\u201d gradually feels more and more like a claustrophobic nightmare. The performances by Catherine Keener and Bradley Whitford are absolutely impressive, and they manage to punctuate the film\u2019s theme of being trapped and ensnared in to something so much more devious. Keener is especially good as the snake like Missy who uses her powers of manipulation, and hypnotism to turn every situation in her favor. From the outset, Peele is very motivated in subverting a lot of horror tropes, completely dominating the screen with clich\u00e9s that are completely turned over on their heads. In the opening we watch a young African American man rush through a seemingly peaceful suburban neighborhood on the brink of a panic attack from fright, only to be attacked and helplessly carried away by a masked assailant.<\/p>\n

Meanwhile a lot of what we deem as secure is continuously transformed in to absolute menace right down to protagonist Chris\u2019s best friend over a cell phone as the events unfold. Director and writer Peele even plays with a lot of social idiosyncrasies which helps us unfold the heinous mystery alongside protagonist Chris, including an attempted failed fist bump during a random conversation that unexpectedly sends off more alarms thanks to Peele\u2019s ace editing and brilliant reversal of body language and intent. Horror is a constantly evolving genre that almost always reflects the current climate of unrest or social tension in the world, and Jordan Peele continues that tradition with what is a disturbing, darkly funny, and nightmarish cinematic gem.<\/p>\n