Masterfully done Independent film

Rating: 9/10 (6 February 2018)

"A mind is a terrible thing to waste." Of course we have all heard this one and brushed it off as just another whimsical, inconsequential, cliche tossed around in the maze of social interaction, but there is whole new depth brought to this phrase by Jordan Peele's independent Horror film "Get out"
We are met in the film by Chris (Daniel Kaluuya) discussing with his girlfriend Rose (Allison Williams); the plans for the weekend stay at his girlfriend's family estate. Immediately the issue of race is involved when Chris asks "Do they know I'm black?", which is met with the reassurance of Rose that this won't be an issue. When at the estate, there is nothing intrinsically wrong, but at the same time everything has an odd sense to it. Our nerves are settled with the line "I would have voted for Obama a third time if I could", delivered by Rose's father, but our intention is immediately recaptured by the oddity of the groundskeeper trimming the grass with a old school rotary lawn mower. This is completely intentional, and complete genius by Peele, as no other emphasis is put on that mower, but it all gets explained after the big reveal. However, in the time it is just playing into the motif of the horror film.
This Horror film offers much more than your typical jump scare, and tantalising suspense (though it does those well too). This movie contains layers upon layers of social and racial intentions and stereotypes; but again it portrays these in a rather unusual and original manner. This film takes every right wing social stereotype and completely flips them on its head. Not a single scene nor character in this movie is wasted, they all have a purpose and play an integral part in the storyline, with some playing even double and triple subliminal rolls, unbenounced to the viewer.
The movie is quick to portray the typical white cop racially profiling a black man, stereotype, but Rose, quick to interject as the hero, intervening and standing up for her boyfriend in the face of the oppressive white cop. At least this is what is shown, and is expected to be interpreted from the scene. Ultimilty it is the viewer that is the one being played a fool, by some tricky double acting, with everything building up to the main reveal.
Many family stories and tid bits are shared with Chris, aimed to be portrayed as the awkward stage of meeting someone new and inviting them into your home, but as the pieces fall into place, these interesting tales turn into rather disturbing hints.
It isn't until the first night of Chris's stay that the viewer finally gets the first inklings to the threat surrounding Chris. Peele sets this reveal up so brilliantly that even though he is shouting the answers to the viewer, letting everyone know the truth to what is going on; the viewer is not fully convinced, and is still unaware of the intimate danger (or at least I still was). It is all explained and covered up by the answers provided to us by the scene, about Chris's mother and the nightmares he battles from the night she died.
The subliminal hints dropped through the entirety of the film are perfectly disguised within the context of the film, as to not give too much away before the big reveal. Going into and throughout the course of movie, I was expecting an overtly racist, and simplistic storyline with an intriguing aspect of horror. What I got was entirely different, and masterfully intertwined with the social complexities that exist with minority groups. Rather than taking the typical approach and portraying the racism as a right wing, blatantly racist film, Peele went the other way entirely and portrayed the racism rather as an oversensitive ignorance, amongst left wing elitists. You know, the kind that say they would vote for Obama for a third term, but in reality don't have any sustainable, tangible relations with any black people.
Peele, through angles, lighting, and mise en scene, is able produce discomfort in scenes, that is not reliant to the racial innuendos. Rather, the racial insinuations add more depth to the awkwardness and tie in to the full reveal. The characters still manage to come across offensive and itmindating, without overtly ruining the mystique of the movie by coming across overly aggressive.
This film keeps you on the edge of your seat for the entire 104 minutes, with endarounds, double acting, and overlooked social layers. For an introductory independent film Peele displayed mastery of crucial aspects in the film industry allowing an entire audience to relate with Chris's discomfort even if the racial and political aspects fly over your head. Peele uses a complex shot combining both birds eye view, and worms eye view into one scene, really to drive home the point, while still managing to hide the big reveal. Suspense build throughout the movie with Chris's growing paranoia. The framing is excellent. There are aspects of omniscient perspective, where the viewer knows what's about to happen but the character doesn't. It all meshes perfectly and fluently. Showing the viewer just enough in any one scene, and then completely changing the topic to make them forget what they just saw. (I.E. the lawn mower is just one example of this.) All in all "Get Out" hits the mark on every aspect good horror movie ought to, and then it takes it ten steps further!