Get Out

Get Out is formulaic in its structure, yet surprising in its presentation. The plot could be explained in a few brief sentences: A young black man hesitantly agrees to go with his white girlfriend to visit her affluent parents. His apprehension quickly transitions into fear as he realizes that something isn’t quite right with the girlfriend’s family. The family and their social circle exude cult-like vibes; all the white people are too friendly and the few black people are in a trance. As the truth is uncovered in the third act, it is clear that the protagonist is in real danger, and a series of violent confrontations drives the film to its final reveal. Back in 1960 Psycho used the same formula, as have a plethora of psychological thrillers and horror movies in the years since. The director of Get Out, Jordan Peele doesn’t try to reinvent the formula; honestly the film is quite predictable. Where directors like M. Night Shyamalan makes thrillers that have legitimately scary moments in the vein of Hitchcock, that’s not what Peele is going for. Instead, Peele is using this genre as a vehicle to comment on the state of racial relations in society today. He points out that bald-faced racism of past generations has been replaced by a self-righteous short-sighted attitude amongst those who consider themselves ‘enlightened’. Peele suggests that pretending no racial divide exists is just as offensive as open racism – his heroes are the honest people of the film, the ones who see what’s really going on.

I liked that Peele didn’t veer from the tone that he established early on in the film, the temptation to shock and splatter the screen with blood must have been there (and I realize this is relative), but he chose moderation. The result is that the audience is allowed to process what the film was about, instead of how gruesome the last 20 minutes were. It bothers me that so many movies resort to graphic violence, when a good story and compelling acting are much more effective. I will also mention that the main character’s friend, a TSA agent who serves as a voice of reason (and comic relief) throughout the film, is a great example of Peele’s talented sense of timing and balance. Peele masterfully uses this character as a sort of narrator; he’s seeing the events unfold much in the same way we are. My question would be, is he a reliable, or unreliable narrator?