Review of Hollywood’s Latest Thriller, “Get Out”


Cullin Egge, Author

Hollywood’s lates star director, Jordan Peele, has made an artistic breakthrough with his now over $100 million grossing film, “Get Out.” A masterpiece such as this has never landed on the desk of any Hollywood official, let alone break so many records in such a miniscule amount of time after its release. The film, released February 24th, combines the suspense of a horror and dramatic themes of a thriller to produce a piece of art born into the perfect time.

Some may claim it to be a product of it’s time, but in my opinion “Get Out” is decades in the making. Set in modern day America, “Get Out” speaks volumes to the treatment of African American U.S. citizens in the 21st century and wastes no time calling people on being racist, whether or not they actually realize it. The director placed symbolic elements and emphasis on modern rhetoric into the film to ensure the audience realize the problems going on every day in America –  problems that have existed since before this country was born.

“Get Out”  begins with an African American male walking a suburban neighborhood street, chatting on the phone. It is dark out, adding an eerie effect before anything even happens. All seems well, until a car begins to follow the man. Eventually he runs, but is captured and abducted by a masked figure. This scene is anything but short and sweet, and an unsettling way to open the film as the audience is already on edge.

Flash forward to our main characters, Chris and his girlfriend Rose. The couple are preparing to visit Rose’s parents, despite the fact that she has not told them Chris is black. She claims there will be no problems, adding (unhelpfully, might I add) that her father would have voted Obama into his third term if he could have.

As Chris is introduced to Rose’s parents, Dean and Missy, he begins to take notice that there is something peculiar about this place. He is on edge with his girlfriend’s parents because, oddly enough, they are seemingly too nice, as though they were trying a little too hard to impress him.

On top of their odd personalities, the white couple has two servants: Walter, the groundskeeper, and Georgina, the housekeeper. Both display strange characteristics, as though they were possessed. Chris notices this, as does the audience. He makes up excuse after excuse to account for their odd behavior, such as Walter being jealous of Chris and Rose’s relationship.

The longer Chris stays in that house the worse things get, so much so that the film earns it’s thriller title and R-rating. Many unexpected twists and turns make this film into an emotional rollercoaster for anyone who watches, with plenty of feelings such as happiness, terror, and sadness, just to list a few, and even a little laughter – tastefully added to ease the unsettling racial tensions. Although the first half of “Get Out” takes a slower pace, it eventually develops into a very intense heart-racing thriller that you won’t be able to turn away from.

In this way Peele demonstrates that there are unavoidable problems in our society today and that no matter how hard one may try and avoid them, they will be there. He keeps the audience on edge from the beginning scene to the final one, artistically keeping his point front and center, while also twisting and conforming it into a horror film.

A movie like “Get Out” is just what Hollywood was lacking, and in my opinion delivers that sometimes all too deserving yet also refreshing “slap to the face” feeling. The film was beautifully written, directed, and filmed, and is undoubtedly one we have been waiting decades for.