Get Out (2017)
When I first heard of the fevered instruction Get Out in the context of a horror film my mind listlessly wanders to this sequence from suburban squirm fest The Amityville Horror, a yuppie nightmare of home ownership, economic stress and familial strife lurking behind those white picket fences. A submerged evil uncoiling in suburbia continues in this culturally incendiary movie, the debut effort of comedian Jordan Peele of Comedy Central Emmy Award winning smash Key & Peele fame. Riding the crest of a spectacular word of mouth wave with screenings literally bringing the house down – even us jaded critics are citing it as the best fun they’ve had as an audience inclusive experience in years – the movie is a 2017 cluster of cultural gelignite, an explosive comment on modern race relations, liberal guilt and an increasingly diverse and fractured first world society. Naturally, as a die-hard horror fanatic I couldn’t wait to see what all the fuss was about and with a few minor reservations this is a terrific little picture, combining an iconoclastic brew of The Stepford Wives with Guess Who’s Coming To Dinner?, garnished with a deadly dose of The Wicker Man for good, gruesome measure.
Budding student photographer Chris Washington (Daniel Kaluuya, probably best known as Emily Blunt’s partner in Sicario) and his girlfriend Rose Armitage (probably best known as one of the quartet of leads in Girls that isn’t Lena Dunham) prepare for a weekend trip to meet her wealthy yet staunchly liberal parents, Dean and Missy, portrayed by a perfectly cast Catherine Keener and Bradford Whitford. Chris is understandably nervous at meeting his partners folks, always a potentially stressful experience in the first phases of a serious relationship, an anxiety which is enhanced by his being a person of colour and her pure WASP pedigree. Rose placates his nerves by assuring him that her parents are so liberal that they are sure to impress him with their support of the then sitting president, and her prediction that they would explain to him that they have voted for Obama again if he could have stood for a third term soon comes to pass. Initially all seems quaint in the impressive Connecticut suburbs, but small details of unease start to coalesce – the house groundskeeper and domestic assistant (both of African-American ethnicity) affect a glassy-eyed, robotic subservience which no-one else seems to notice, and certain phrases and behaviours of the Armitage’s extended family and friends seem slightly off-kilter and…strange. I’ll say no more as it is crucial that you into this experience as ignorant as an Alabama knitting circle, as a horrific plot slowly materialises out of the midnight mists….
It is difficult to dance around this one and retain spoiler integrity so I’ll just say that the praise the film has attracted is definitively deserved, in yet another storming debut to the horror movie Hecate. Although it follows the contours of a horror film, especially the concept of a naive, increasingly suspicious innocent being inculcated in a deadly conspiracy the social and political themes are smoothed under numerous narrative and allegorical levels, so that a second viewing will be essential to judge who finely Peele’s excellent script was engineered. The jump scares are kept to an intensified minimum, the film preferring to build an increasing sense of mysterious dread through which the thumbscrews are tightened, before all hell breaks loose in a final and expectation flouting finale. All the leads are solid and treat the material with the respect it deserves, it plays more serious than other horror-comedy hybrids like The Evil Dead or An American Werewolf In London for example, struck more from the mould of The Cabin In The Woods with a deft understanding of genre conventions.
TSA agent and Chris’s best friend Rod Williams (LaKeith Lee Stanfield) is the comic relief, the surrogate for the audience whom plays a sassy, exuberant sort and gets most of the films belly laugh lines, even if at times it feels he’s wondered in from a Wayan brothers picture. The good news is that Peele has revealed he has scribed four other horror scripts before he got this one off the ground, and given its $5 million budget to its stratospheric $150 million (and counting) return I’m positive we’ll be seeing more from him soon. Just to be slightly contrarian as a genre nerd I’d have preferred it if it had spent just a little more time moving through the central film’s plot premise, I think some of those narrative nuances got a little lost in the mix, but to be fair the more I’ve thought about it the satire is revealed to be more deeply layered and constructed that a first impression suggests, with visual metaphors and plot devices building a deft oratory on the diseased state of the American body politic. This is simply essential viewing, a vibrant new addition to the pantheon of pandemonium that squirms in the recent slipstream of The Witch, It Follows and The Babadook, so Get Out and see it immediately. A-hem. Sorry;