I’ve been late to review a lot of movies lately, but I’m getting back on my grind (hopefully) to at least give my opinions on some of the more popular films. I’ve finally been able to get out of my own way to see Jordan Peele’s directorial debut Get Out which I know is a film that critics and fans alike have been clamoring about for weeks now. It’s always interesting to see an actor go into the director’s chair and even more impressive if they’ve written the story. We’ve seen the Clint Eastwood’s, Affleck’s, and even Denzel’s of the world take on the task, but I think it’s always pretty impressive when an actor such as Peele – a sketch comedy genius – break into a whole different genre entirely. The thing I can immediately say about Get Out is this, Peele has created something original, fresh, and provocative while still preserving traits that made us love him on Key and Peele.
The strange tints of familiarity are woven tightly through a plot that feels like it was something transpired from a modern slave memoir. Rather than prodding the audience with blood and gore, we get a mystery thriller that intelligently becomes more of a meditation on the racial fears that black people face. Wonderfully acted and paced to near perfection, the tension pulls at you like a medieval torturing device that goes perfectly with a medieval – or just evil – concept that will make the good people want to punch a whole in the wall. Through my viewing of the film, as a minority nonetheless, I felt every feeling the character of Chris (Daniel Kaluuya) was going through and then some. The atmosphere is overly sterile and creepy as hell without anything supernatural ever needing to take place, and that’s far scarier proving that certain truths can be stranger than fiction.
Often unbearably realistic, Jordan Peele is able to transfer modern era racial fears – which tend to be the same in different forms – while presenting a truthful, though sometimes too real, vision on what it takes to be black in a more modern society. With each passing scenes comes a realization to the audience that makes you uncomfortable and I challenge you all to watch this with people around only to observe how they handle certain scenes of the film, it will be very telling, but to be fair, there is an absolutely astonishingly clever plot that evolves as well. No where in the film do you fall to a cliche or a reveal that you could have ultimately predicted. While not as soothing, it’s about as refreshing as jumping into a pool in the summer time, and that’s because of the story that Peele gives us through an honest, but focused lens.
I’d implore you all to see this film if you haven’t already. If you want an original horror/suspense/thriller type of film then you need to get to your local theater right now. If this is a sign of what is yet to come from Peele the director, then expect to see some of the most unique fusions of plot and genre within the next few years of his career as a director. I felt this way when I watched Joel Edgerton’s The Gift, but the only difference here is that it pushes exactly what it needs to bring something unique, but also something that will always be topical in the eyes of people so long as certain mindsets show resilience. I left the theater impressed, provoked, and all around satisfied, which I imagine are the feelings most audience members will have.