Get Out

Name: Get Out
Genre: Mystery, Thriller, Horror, Comedy
Released: February 24, 2017
Duration: 104 min
Rating: 85
Cast: Allison Williams, Bradley Whitford, Catherine Keener, Daniel Kaluuya

2017

METASCORE

Universal acclaim based on 48 Critic Reviews

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USER SCORE

Generally favorable reviews based on 1639 Ratings

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7.5

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7.5	User Score Generally favorable reviews based on 1639 Ratings

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Movie Details & Credits

Universal Pictures | Release Date: February 24, 2017 | R

Starring: Allison Williams, Bradley Whitford, Catherine Keener, Daniel Kaluuya

Summary: Now that Chris (Daniel Kaluuya) and his girlfriend, Rose (Allison Williams), have reached the meet-the-parents milestone of dating, she invites him for a weekend getaway upstate with Missy (Catherine Keener) and Dean (Bradley Whitford). At first, Chris reads the family’s overly accommodating behavior as nervous attempts to deal with theirNow that Chris (Daniel Kaluuya) and his girlfriend, Rose (Allison Williams), have reached the meet-the-parents milestone of dating, she invites him for a weekend getaway upstate with Missy (Catherine Keener) and Dean (Bradley Whitford). At first, Chris reads the family’s overly accommodating behavior as nervous attempts to deal with their daughter’s interracial relationship, but as the weekend progresses, a series of increasingly disturbing discoveries lead him to a truth that he could have never imagined.… Expand

Director: Jordan Peele

Genre(s): Mystery, Thriller, Horror, Comedy

Rating: R

Runtime: 104 min

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Critic Reviews

100

The Guardian Peter Bradshaw

Mar 20, 2017

Get Out is very creepy, very funny and as pitiless as a surgeon’s scalpel. Read full review

Tasha Robinson

Feb 26, 2017

Like so much of Key & Peele’s comedy, Get Out is refreshing in its naked, frank aggression about confronting racial issues, with comedy, drama, and sharp, unsparing insight. Read full review

Joe Morgenstern

Feb 23, 2017

Get Out starts with a great title and a promising idea — a black man’s fear as he walks at night down a street in an affluent white suburb. Then it delivers on that promise with explosive brilliance. Read full review

The Film Stage John Fink

Jan 24, 2017

Writer-director Jordan Peele has smartly created a horror comedy that doesn’t feel like a series of sketches from his show: the whole thing is a single, coherent episode and individual scenes are masterfully and subtly crafted with tonal shifts that work well. Read full review

Justin Chang

Feb 23, 2017

This is surely the nerviest, most confrontational treatment of race in America to emerge from a major studio in years, and it brilliantly fulfills the duty of both its chosen genres — the horror-thriller and the social satire — to meaningfully reflect a culture’s latent fears and anxieties. Read full review

James Berardinelli

Feb 23, 2017

The R, however, isn’t for the usual “extreme gore” of a slasher movie. Instead, it’s mainly for profanity. Get Out has only a little blood and viscera; the approach of writer/first time director Jordan Peele is to approach the more stomach-churning aspects of his production with tact. Read full review

Joshua Rothkopf

Feb 17, 2017

A horror film with the power to put a rascally grin on the face of that great genre subverter John Carpenter (They Live), Get Out has more fun playing with half-buried racial tensions than with scaring us to death. Read full review

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User Reviews

fenrishero

Feb 24, 2017

When I first saw the previews for this movie, I thought 'I'm sure Jordan Peele is using the tone of overt racism to make a more interesting point.' I was not disappointed. He sets you up with a barrage of left jabs that started in how the trailers were cut and how the movie plays throughWhen I first saw the previews for this movie, I thought 'I'm sure Jordan Peele is using the tone of overt racism to make a more interesting point.' I was not disappointed. He sets you up with a barrage of left jabs that started in how the trailers were cut and how the movie plays through most of it's length, and then he delivers a stunning right hook in the major twist of the film. Great portrayals from everyone and a movie that will make you want to watch it again to find the hidden threads that you should've seen and foreshadow what's to come.… Expand

66 of 108 users found this helpful6642

kiank

Jan 1, 2018

This review contains spoilers, click expand to view. I hate horror movies a lot, but Get Out is one huge exception. I loved the way they set the girlfriend app to be his ultimate betrayal. I thought she was on his side up to when she took a long time to get the car keys. I also thought he was going to die and leave me disappointed but I love that he got revenge on everyone at the end, with the help of his funny side kick. I liked the use of humor throughout and the unsettling nature of the film, without too many jump scares that detract me from these sort of movies. Overall, I would give it a 9.7.… Expand

1 of 6 users found this helpful15

PipeC

Aug 11, 2017

Don't get out!

Discrimination, in all its possible variables, is a matter of which it's possible to get very far both in extension and intellection, an issue that has touched various media in terms of attacking this puppet of such evil purposes. Basing on a sad-popular behavior such asDon't get out!

Discrimination, in all its possible variables, is a matter of which it's possible to get very far both in extension and intellection, an issue that has touched various media in terms of attacking this puppet of such evil purposes. Basing on a sad-popular behavior such as racism in the United States of today, filmmaker Jordan Peele—who gained status by TV shows of a comic nature that with the accustomed dubious quality achieved American transcendence—presents a sour, fiery and impetuous social satire brimming with black humor with delicious psychological thriller hint that arrives in order to impact strong on a certain well-off sector thanks to a reflective tale of the big little lies that we tell each other in such a clever, effective and commercial way that might well gets it a list of meritorious titles as "cult film" or "the best suspense movie of the year" and maybe, a round of accolades for its splendid components, identical in quality, different in appearance.

Peele's feature film converges, in not few vertices, with the laudable allegorical representation ("The Invitation", 2015), highlighting as the main concomitant the essence of the true thriller: increasing discomfort and vulnerability sown in order to audience does not feel secure with what happens on the screen, which provokes in this incessant birth of perceptions toward the loaded questions posed by the story. A genre equivalent to a perverse roulette, in which in the slightest moment of carelessness, a rush of revolutions can shake your safety from head to toe. Such concordance adorned with an acute social criticism, substantial of the authentic films inaugurated by Mr. Hitchcock, in which are exhibited the poorest actions that we can come to commit. We're the black and white dots.

While it builds outstanding psychological game with detailedness, Peele, deserving of double mention acting as scriptwriter and director, conjures up ordinary components and other unusual that can be abridged in three major fields: the first one, of course, is the narrative, although, beyond wise skill of developing the subliminal core idea, it's the successful combination and harmonization between two discordant genres as horror and comedy, an impressive achievement especially in the decadent film period in which we are in. While comedy is based on the supporting comic relief gags (adversarially a black man) and the irony of the situations, it's fascinating as horror doesn't require scary monsters or spooky entities to fulfill its objective, here, terror springs up from dread and the veiled significance of the words, from confrontation with the harsh reality. The second one is plausible constituents at a technical level, namely, its mise-en-scène, soundtrack, cinematography, and photography that unite the vertiginous final act with the hesitant first act using, as usual in Jason Blum's company, precise elements that facilitate and enrich the following of the story. It's prodigious in the composition of its images, having in its power a vacation home encircled by a dry forest is not a break, on the contrary, it's sensational as they create beauty, usually in confined spaces, with what they have. With certainty, the film has conceived one of the most beautiful shots in horror film history, an oneiric picture where Chris (Kaluuya) jolts awake after a cyclic hypnosis in a pale leather sofa, with the sound effect from an old TV as the only company, his face—tremendously photographic—raises an analogy through the melodramatic tears in his exorbitant eyes, a frame that will last in the memory of any modern cinephile. There are also sparkling scenes, which reach horns of the moon in its exciting third act, highlighting vigorously camera focus in the third major factor: the overwhelming and heterogeneous performances. Kaluuya's role radiates power and strength, he's sensitive and unprotected when he needed, aggressive and lethal when everything is a disaster. The alienation of the Armitage family is dosed between the competent actors, from which stand out Allison Williams (with a twisted plot worthy of Shyamalan) and her brother in the fiction. Exclusive attention requests scene stealer Betty Gabriel, who plays a couple of shocking scenes, with dimensions of complexity and interpretative depth typical of an acting matron. Be careful because this lady and Kaluuya will present great surprises.

Conscious of its game, Peele's motion picture is a deliberate subversion, offered by the hand of cinema, which cries out for the eradication of injustices perpetuated by the social and political sects of the Trump era. It also breaks supposed barriers between genres and ideas and overflows creativity and power by creating situations as exciting as cartoon-like, as intelligent as reflexive; A satire that wasn't requested, perhaps out of fear, but in the end, it came with a relentless purpose. It achieves what many feature films don't: surprise and affect.… Expand

5 of 13 users found this helpful58

GinaK

Mar 6, 2017

I enjoyed this film, although it was more mystery than horror film. The production design and the acting were excellent, and not dark and stale like some horror films are. My one problem was that the film needed some trimming and went on about 15 minutes too long.

2 of 9 users found this helpful27

zembowerboy

Mar 5, 2017

While it doesn't quite live up to it's overwhelming acclaim, and the trailers spoil about 90% of it, stripping the film of some of the surprise and suspense it could have had. GET OUT is nonetheless a striking debut for Jordan Peele, balancing humor, weirdness, and a lot of creepy into aWhile it doesn't quite live up to it's overwhelming acclaim, and the trailers spoil about 90% of it, stripping the film of some of the surprise and suspense it could have had. GET OUT is nonetheless a striking debut for Jordan Peele, balancing humor, weirdness, and a lot of creepy into a hugely original package. The tonal shifts gel instead of clashing. GET OUT is most of all just a lot of fun and never boring.… Expand

5 of 25 users found this helpful520

jaybob2k

Mar 12, 2017

It wasn't funny. It wasn't scary. It just wasn't. I'm not sure what the critics were watching. The racist innuendos were typical and overused similar to "One of my best friends is black." Don't waste your money.

7 of 20 users found this helpful713

WanderinMelmoth

Nov 26, 2022

Another race-baiting movie by racist and black supremacist director/writer Jordan Peele. All white people in this film are racist and evil stereotypes, all black people are angels and victims. It is funny how so many people out there that are constantly complaining about racism and seeAnother race-baiting movie by racist and black supremacist director/writer Jordan Peele. All white people in this film are racist and evil stereotypes, all black people are angels and victims. It is funny how so many people out there that are constantly complaining about racism and see racism in literally everything seem completely fine with racism directed against white people.
This being only a propaganda film it doesn't even work as a horror film because it is so predictable. Complete and utter garbage.… Expand

1 of 2 users found this helpful11

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32	#32 Best Movie of 2017
13	#13 Most Discussed Movie of 2017
7	#7 Most Shared Movie of 2017