A Quick Look: Get Out (3.5/5)

So I just got home from seeing Jordan Peele’s (of Key & Peele!) directorial debut, Get Out. When I first saw a trailer for this movie, it looked like it was going to be yet another one of those “Urmurgurd white pepol r eeeeevil” flicks that are now a dime a dozen. However, it not only got good reviews, but it was also a horror movie. Plus, it looked like a satirical horror black comedy that actually looked kind of disturbing. I figured I may as well check it out. I held my nose and purchased my ticket. And I am happy to say that this movie’s message is not “white people are evil”. This isn’t Assata Shakur’s wet dream. Thank heaven. While racism is a prevalent theme in Get Out, it is used as merely a plot point, and refuses to go anywhere near generalization. It uses racism as a platform on which to create a nice little horror flick. The trailers may have looked preachy, but the film is not. Not even close. While a little of the racially charged dialogue in the first act did get on my nerves somewhat, the movie dropped that gimmick as soon as we got into the second act.

Though I fully admit that Get Out is a good movie, I’m pretty sure that the source of this movie’s glowing reviews are mostly just white liberals desperately trying to virtue signal.

I need to point out something that annoyed me: the handful of silly and unnecessary jumpscares. I remember there being three, four, or maybe five of them. The most obvious one is this one. The second act is starting. It’s the first night Chris and Rose are staying at Rose’s parents’ place for the weekend. Chris wakes up in the middle of the night and decides to go outside and get some air. While he’s walking through the house, Georgina walks into frame in the background. Chris doesn’t even see her, but the soundtrack feels the need to insert a silly and unnecessarily loud instrumental sting. I don’t know if Jordan Peele had those put in the movie or if they were forced into the movie by Jason Blum, but they’re annoying and completely destroy any sense of immersion. Learn from this, Jordan or Jason.

I love the soundtrack, particularly the tracks “Sikiliza Kwa Wahenga” and “Surgery Prep”. While they’re pretty unsettling on their own, when they’re played in context of the movie, they become legitimately scary. Find them on YouTube.

Now, I went into this movie having only seen the trailers, so the creativity of the plot caught me off guard. I love how the villains are not motivated by racism; rather, by the opposite. This is because Jordan Peele wrote this story as a showcase of the internalized “racism” of white liberals. I especially love that most liberal film critics didn’t even pick up on that, instead coming up with laughable explanations as to how this movie presents racism. I love that the movie not only shoves liberal reverse racism to the forefront with condescension toward and fetishization of black people, but also points out that black people can be racist too. I love how Jordan Peele, a black man married to a white woman, can have such a unique perspective on racial tension in American society in showing that racism cuts both ways. I love the contrast between the slightly awkward actions of Rose’s parents in front of Chris and the depraved creatures they really are. I love Rod and his comic relief. I rarely say that I love comic relief, but Rod is hilarious. The acting is actually pretty good, really nailing each character’s mannerisms. I love just how creepy the exchanges between Chris, Walter, Georgina, and “Logan” are, where you know something’s wrong with them, but you can’t quite place what it is. I love how the first half of the movoe presents the question of whether there’s something really wrong going on, or if Chris is just reacting to stereotypical racial tension. I love the constant sense of discomfort that you just can’t quite put your finger on until we’re already balls-deep and balls-to-the-wall. I love that for a slow-burn thriller, it was never boring. I love just how passive-aggressive the tone is until the movie totally flips the balls-to-the-wall switch. I love just how balls-to-the-wall it gets. If you haven’t seen the movie, I won’t spoil the twist for you.

Unfortunately, I can only call Get Out a decent horror flick, because despite how original this idea is, it still matches other generic horror films in terms of structure. Its scare sequences still reek of studio bullcrap. And the climax, while balls-to-the-wall, just cannot manage to tie itself together. The exploration of various themes was not as thorough as was necessary.

Don’t get me wrong, Get Out is a good movie, and Jordan Peele has a bright future in Hollywood. But this movie has a few glaring flaws that prevent it from being better than it is, and I’m giving Get Out a 3.5 out of 5.

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