Jordan Peele, one of the creators of the comedy sketch show “Key & Peele,” an alumni of the sketch comedy show “MADtv” and a writer and star of the 2015 comedy film “Keanu,” is writing and directing his first solo feature, the horror film “Get Out.” A comedy writer and actor taking on the horror genre, the transition was certainly interesting.
First and foremost, the film is technically a horror movie, but often times it feels more in line with the thriller genre. It is creepy and at times scary, however, most of the feat comes from expertly built tension and menace. There isn’t a séance or a masked killer. Instead, Peele takes the moments of awkwardness that would normally be in a film like “Meet the Parents” and turns it up to eleven.
The cast is excellent, with Catherine Keener and Caleb Landry Jones, as well as Daniel Kaluuya standing out the most, but the true star of the film isn’t even in front of the camera. Peele works wonderfully by subverting expectations with what this film is, what is happening,= and why it’s happening. The writing is top notch, a moment that, in another horror film, might seem stupid or illogical, is addressed as stupid and illogical in “Get Out,” adding layers to its horror.
Given that his previous background is from “Key & Peele,” Jordan manages to place great moments of humor and satire as well. From the awkwardness of the previously mentioned parent meetings, to amusing situations with Chris’s TSA agent buddy back home; they don’t all work though.
A few humorous moments seem to be placed to help prevent the film from being nothing but horror, to help add to the satire. However, most of these scenes tend to drag on. This would be fine, except that the movie feels a bit too long. It isn’t, clocking in at a reasonable hour and 43 minutes, but these extended scenes that drag make it feel longer.
Music is used greatly as well, although it doesn’t seem fully utilized. The opening and closing scores are great uses of African styled instruments and they sound great. The rest of the score abandons this though, using plucked strings and violins instead.
Some plot points, although nothing huge, are never tied up. They don’t damage the film, but when they are first introduced, they’re focused on so much and then abandoned, causing confusion as to why they were even introduced at all.
“Get Out” remains a strong debut for Peele as a writer and director. It feels like the kind of horror film that people usually make as their fifth or sixth film. With layers of twists and tension, a sharp satirical script and well done performances, “Get Out” capitalizes on its premise with greatly with only a few stumbles. After all, a fantastic premise is a terrible thing to waste. 4/5
