Jordan Peele Makes Sure We Take the Cue in 'Get Out'

Black people finally got themselves in a horror movie as the center of attention. In 2017's Get Out, they match previous wits with their whiters in this mix of social commentary, comedy and suspense by Jordan Peele. Peele also reminds us that good horror isn’t solely a function of blood, violence and excessive gore.

Get Out begins pretty inauspiciously. That is, unless you consider a black man dating a white woman unusual. The thing is, we do, because how often do we actually see a mixed coupling on film in our so called progressive age.

"Mom and Dad, my uh, my black boyfriend will be coming up this weekend, and I just don't want you to be shocked because he's a black man," Chris Washington (Daniel Kaluuya) clarifies our collective denial.

Too Clichéd, or a Warning?

On the other hand, Rose sounds pretty cliché in defending her father’s forward thinking ways. “First of all, my dad would have voted for Obama a third time if he could have,” Rose (Allison Williams) tries to assure her boyfriend.

Of course, at this point it would be hard for Chris to take note of what black comedians often decry about white horror victims. When the tortured soul screams get out from behind the walls, you don’t sit around and check to see how many mortgage payments are left. You straighten up and just comply.

But maybe cliche sounded like standard fare for poor Chris. Either way, once the semi shock wears off, a nervous boyfriend off to meet the parents lets us settle into place. The racial discourse also gets a rest for the drive north.

It doesn’t last long, though. The couple is stopped by a cop and the profiling that takes place has us wondering whether this is a horror movie or a lecture.

Meet the Parents

The couple hits the reset button and reloads to meet the parents. The inevitable class of cultures features more of white people acting awkwardly in service being down with the black man. “You call me Dean and you hug me, my man,” pines Mr. Armitage (Bradley Whitford).

Come on Peele, we’re white, we're not stupid. Nonetheless, the sudden appearance of two black servants seems to signify the reason for dad’s overcompensation.

Dad has a believable justification at the ready, though. “Now, we hired Georgina and Walter to help care for my parents. When they died I just couldn't bare to let them go,” he sets things right.

Something’s not Right

Still, there’s something up. The duo almost appears directly out of a 1950s northern suburbia. If you have trouble picturing, Far From Heaven would suffice perfectly.

You are now creeped out and when Rose’s mother hypnotizes Chris, the ensuing dream doesn’t quite cue Chris to get out. But add a party full of more white people who lack racial social graces and something clearly is amiss with their exceedingly paternal behavior.

The appearance of Rose's high strung UFC fighting brother doesn't ease the ambiguity either. But is there really a problem? A bunch of white people in a bubble - so what? However, the out of touch eccentricities don’t stop and incrementally serve up the suspense.

None of the standard Freddie-like slish-slash is required either. No matter, Chris tries to gain perspective by calling his conspiratorial minded friend Rod (Lil Rel Howery). Howery’s irrational interpretation of the events don’t necessarily get Chris on the move, but they definitely amuse.

And when the anomalies evolve and eventually reveal the true horror, the ending is all set up to drop the mic. “I told you not to go in that house,” Rod pays homage perfectly and lays the groundwork for its own genre.

Please like my movie review page.