I cannot speak any more highly of today’s film (or the film that subsequently followed from this writer-director). If you haven’t seen “Get Out,” or “Us,” then you have to put down whatever you planned to do today and get to watching both. Today’s focus, however, is on Jordan Peele’s psychological thriller “Get Out.”
As the movie poster visually implies, Peele’s work is an intricate and stunningly stinging critique of race relations in the United States. He very much so claims that our homes are not free of institutionalized racism, and they certainly carry skeletons that we may not even know are in our closets. Peele’s partnership with horror powerhouse Blumhouse was an initial sign that this movie was destined to be a classic.
While modern in its approach, and certainly lacking in blood and guts and ghosts, the horrific here is everyday life. Yes, Peele’s film is much deeper and more severely complex than that statement; however, writing too much about Peele’s film will reveal the secrets that lie beneath a shared cup of tea.
What will stick out are the visuals. The use of lighting, and whites and blacks, is innovative and reflexive. The color decisions reflect deliberate choices to expose feelings and sentiments that provide a deep dive into our inner psyche. What isn’t on the surface is the intricate and haunting script that Peele penned himself. He gravitated toward social criticism, but embedded it in tropes of horror. This method isn’t uncommon in the genre, but it is uncommon as to how complex the narrative weaves between black and white compared to its horror compadres.
And when you finish feeling as though you didn’t know what hit you, what you just watched and what story just emerged, watch Peele’s next film: “Us.”