Can We Talk About Get Out?

Spoiler Alert: I’m bout to spoil the shit out of this movie.

Just a few days ago, Get Out crossed the million dollar box office threshold and I thought, impressive, but I knew I had to see it even before the rave reviews and ratings came in. I first saw the trailer late last year and thought it looked interesting, and the name Jordan Peele was enough to make me want to spend the coin at the the theater in the first place.

Sidebar: I’ve been a fan of their Comedy Central show since season one, but Peele was always the more relatable of the duo for me, personally. Not to say that Key isn’t funny, which is certainly not the case, but they just have two very different styles of comedy.

Though that Keanu movie was a joint venture between the two, I could tell from the trailer that it was more so Key’s voice that dominated the film and I, respectfully, opted not to see it.

But down to brass tacks…

Jordan Peele’s comedy is sarcastic, witty, and well-timed. It’s not overt or overbearing, it’s subtle, which is fitting for this film, in particular. Half the fun of this movie was deciphering the easter eggs of symbolism placed throughout the movie.

“Stay Woke,” are the first words to open the film. It’s not only a succinct summation of the thesis of this movie, but also an excellent choice in music selection.

See: Childish Gambino’s latest project, Awaken, My Love.

Song: Redbone

It’s also worth mentioning that Jordan Peele is no stranger to the art of cinema. This movie was impressive to me because of the Peele’s directorial choices. From the way certain things are framed, to the composition of certain scenes, the set design. The first thing we notice about the lead character, Chris  (David Kaluuya), are his eyes. Almost every time we see Chris, we’re close on his face, of which his eyes are always the focal point.

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Stay woke.

Though this movie is genred a thriller, it’s also damn funny. Peele’s distinct voice as the film’s writer shines through at several moments throughout the film – most memorably the phone conversations between Chris and Rod (Lil’ Rel Howrey), his best friend.

That scene where Chris meets all of Rose’s family and he spots the only other black guy at the party, Andre.

As is required, Chris walks over to greet him.

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Good to see another brother around here.

But when Andre turns around, he looks hella weird – yet, still, vaguely familiar to Chris. He says his name is Logan King and he’s married to a one of Rose’s aunts.

But the line when his wife walks up, and Logan says…

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“Chris was just telling me how much more comfortable he was with my being here”

…and Chris cuts his eyes and looks at him like,

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Crine emoji. Crine emoji. Crine emoji.

Jordan Peele, you clever bastard.

After consulting with Rod on the phone, they eventually identify him as Andre Holman, someone they used to know but who had now been missing for six months after last being seen in a quiet suburb sometime after the street lights had come on.

Now if all that didn’t excite the cinephile in you, the ending is what really sent this movie over the moon. This was starting to look like it was going to a really Django-burns-down-Candyland, revenge narrative type of place until that moment where Chris is about to choke the shit out of his, I assume, ex-girlfriend. Then we get this…

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What was that smirk about?

It was almost as if, even in her final moments, she was acknowledging that Chris was somehow playing into her hands. Even if he had decided to kill her, would it solve anything?

Idk, whatever it was, he decided against it. But not before we see those ominous blue and red lights.

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I feel like in this moment, every black person’s heart broke. We all knew what that looked like. Adding insult to injury, Rose went full white woman and had the gaul to start calling for help.

It looked like the jig was up for Chris and that his psycho ex really had won. But then the door swings open and it’s Rod Williams, T.S. muthafuckin’ A.


Bravo, Mr. Peele.

I may need a second or third viewing to fully grasp the symbolism of “the sunken place.”

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“No matter how hard we scream, the system silences us,”

…until we Get Out.

I can only speculate for now, but for once, the black guy in the horror movie lived and so did I. I heard some white folks were mad about it, but if they didn’t walk out, I hope they find all the pieces of their broken faces before the attendant sweeps the isles.

It’s definitely a yes for me. Get Out was a phenomenal movie.

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