When Chris (Daniel Kaluuya) agrees to spend the weekend at his girlfriend’s childhood home, he expresses his nervousness about the upset his racial difference might cause. However, upon arrival, Chris’s problem lands on the other end of the spectrum: everyone is too nice. Soon, Chris will learn disturbing truths that leave audiences on the edge of their seats.
As a thriller, the movie’s setting was carefully planned. A giant house in the middle of the woods? Yes, please. The characters are far from civilization, and the wide, open spaces brought an empty feeling to the world of the movie, increasing the creep factor. Inside the house, comfortable furniture and dim lighting gave the illusion of a cozy home and family life, but this calm setting allowed for more scares and unsettling conversation.
The camera angles were a large part of this movie because they played a major role in mood and suspense. For example, Georgina, played by Betty Gabriel, was one of the strangest characters and was perfectly highlighted when an extreme close-up gave the audience an in-depth look into a mental break and important plot development.
The flawless acting is a win for the film’s casting department. Each actor looked comfortable in his or her role, which created an acceptable adhesive between the setting, genre, dialogue, and casting. The detailed development of both main and background characters added to the realism. Furthermore, because the characters were so dutifully developed, viewers became naturally invested in each character, causing the twists and turns to be that much more shocking.
Another spectacular aspect was the dialogue. No lines stuck out as misplaced, poorly-timed, or imposed. Small interactions between Chris, girlfriend Rose (Allison Williams), and smaller characters, for example, shed light on the uncomfortable reality of racial ignorance without force feeding it to the viewers. In addition, every interaction between Chris and his TSA best friend, Rod Williams (Lil Rel Howery), was successfully hilarious and relieved the constant tension even if only temporarily.
Personally, my favorite part is the uniqueness of “Get Out.” The original plot rendered the audience in blissful ignorance, unaware of what might happen next. This individuality continued all the way to the end when one ever-after was traded for another within seconds.
Overall, “Get Out” receives a 10 out of 10 from this viewer. Here we have a film where the audience’s personal discomfort and doubts added to the viewing experience. The film is also interesting for the conversation it starts between critics, haters, and fans alike. Whether you take this movie as a satirical masterpiece or a real look into social issues still relevant today, I would definitely recommend “Get Out” to any and every one.