“Black is back!”
Meeting a partners parents for the first time is usually a somewhat uncomfortable experience, and in “Get Out” the situation is no different.
Awkward dad jokes, an overtly competitive sibling and a mother who specialises in hypnosis. Yes, it’s your traditional ‘meet the parents’ set-up.
The directorial debut from Jordan Peele (MADtv, Key & Peele) presents the audience with a film balancing precisely on the line between psychological thriller and dark comedy.
At several points in this film you will experience the urge to laugh, although whether your giggle is the result of humour or horror you are never quite sure.
When African-American photographer Chris Washington (Daniel Kaluuya) is invited by his Caucasian girlfriend Rose (Allison Williams) to meet her family, race is an issue from the beginning.
The insistence that her father would have voted for Obama “a third time” is later reinforced by the man himself, as Bradley Whitford embodies the role of friendly/desperate Mr Armitage with a conviction that is winningly cringe worthy.
Mrs Armitage’s (Catherine Keeper) contemplative assessment of Chris is no more comforting, particularly when we see her command of the two (black) servants using little more than the clink of a spoon on her teacup.
It soon becomes clear that the warning “Don’t go to a white girl’s parents’ house!” delivered by Chris’ best friend, and provider of comic relief, Rod (LilRel Howry) is more ominous than first thought.
Bleak comedy soon gives way to spine-chilling mystery as Chris is paraded as the star attraction of a garden party where wealthy, white people prod his muscles and patronisingly insist “Black is back!” with an intensity which transcends mere curiosity.
The casting of Daniel Kaluuya may have been controversial when revealed, but it is the Brits former non-entity in Hollywood combined with Peele’s chaotically choreographed writing which makes this film stand out.
The casting of a more prominent actor would surely not have cemented us so securely in a film where the progression of the sinister is so rapid.
The unpredictability of the script, the haunting, string-filled soundtrack and a cinematography where symbolism is subtly emphasised all combine to create a thriller where the audience cannot guess what is going to happen next. It is satisfying for those sick of the predictability of thriller films, yet to label it as “crowd-pleasing” could not be further from the truth.
“Get Out” is a triumph of cinema, a socially relevant but unique concept which reveals more messages with every viewing.
The audience teeters uneasily between the realms of farce and fear as we are presented with a world which is assuredly unrealistic, yet at the same time disconcertingly familiar.