GET OUT [Spoilers]: when a girl takes her new boyfriend home to meet her family, he gets way more than he bargained for. As a white metropolitan elite male, and part of the liberal media (a blog counts, right?) the moments of sleight racism, underhand stereotypes, and low-key comments about ‘form’, ‘structure’, ‘genetics’, etc were the hardest bits to watch. The strongest aspect about this film is that it skillfully uses the ‘language’ of horror cinema (jumps, isolation, string score) to emphasize the uneasy and odd parts of the plot. Even white people talking normally about Tiger Woods, Jessie Owens, and Obama sounds creepier through the ‘horror’ lens. The final 10 minutes see a major tone shift into exploitation & schlocky B-movie cheese, with some crowd pleasing gore – although it does feel like it’s been heaped on for good measure – a highlight being a ‘reverse American History X headstomp’ homage. There’s a few other missteps like the ‘gentrified’ help coming over more “robotic” than ‘transplanted’, and the TSA agent friend is purely in there for some cheap comic relief. The best thing about Get Out is that everything mentioned in the first half fits together perfectly for the reveal and finale; however, the flip side of that is that there’s no subtlety, and you get pushed down a particular path, which the film sticks religiously to; which feels too straightforward in a time where you expect more from top-drawer horror.

Score: 7/10