But Get Out is so much more than your average horror film – I’d argue that despite its trailer’s image and the general discussion of genre around the film, it is very much a psychological thriller rather than just another horror movie. Even if the opening scene does feature a kidnapping to the tune of Run Rabbit Run.
The plot, on paper, could be described as simple: a young black man Chris goes to visit his white girlfriend’s parents in the countryside, where everything is not as it seems. Get Out isn’t just about this however – it’s a film about race, tension and privilege in an America that professes that it had moved past all these issues.
Daniel Kaluuya excels as Chris – showing a man who is trying to be comfortable in these surroundings but who can’t shake the feeling that something is desperately wrong. From his comfortable life as a photographer in New York to the shear desperation and horror that he is forced to endure, he plays with a sincerity and truth that only makes what happens to him even worse.
The film also skewers ‘liberal white America’: the Armitages insist on how much they loved Barack Obama and how relaxed they are for Chris to be dating their daughter but their true agenda and feelings are as explicitly racist – and so much worse – as any ‘non-liberal’.
While being an important and timely film, Get Out is also beautifully shot. Transitions from the countryside to photographs of inner city life to the sound of Childish Gambino, to the eerie and unsettling hypnosis sequences, Jordan Peele manages to unsettle the audience through this depiction of ‘the normal’ American countryside where much more sinister things lurk beneath the surface.
Not liking horror films is not an excuse to not see this film, it’s a film that uses generic conventions to talk about issues that still affect America today. Plus it’s entertaining and thrilling as hell.