Get Out (film)
|This article's lead section may not adequately summarize key points of its contents. (April 2017)|
Get Out is a 2017 American horror film written, co-produced and directed by Jordan Peele, in his directorial debut. The film stars Daniel Kaluuya, Allison Williams, Lil Rel Howery, Bradley Whitford, Caleb Landry Jones, Stephen Root and Catherine Keener, and follows a young interracial couple who visit the mysterious estate of the woman's parents.
Theatrical release poster
|Directed by||Jordan Peele|
|Written by||Jordan Peele|
|Music by||Michael Abels|
|Edited by||Gregory Plotkin|
|Distributed by||Universal Pictures|
|Box office||$230.9 million|
Get Out premiered at Sundance Film Festival on January 24, 2017, and was theatrically released in the United States on February 24 by Universal Pictures. The film has grossed $230 million worldwide against its $4.5 million budget and received universal acclaim from critics and audiences alike.
A black man, Andre Hayworth, is abducted while walking through a suburb late at night.
Months later, black photographer Chris Washington and his white girlfriend Rose Armitage take a trip to meet Rose's parents, neurosurgeon Dean and psychiatrist/hypnotherapist Missy, and her brother Jeremy. At the house, everyone tries to make Chris feel welcome, but he is disturbed by the odd behavior from the black groundskeeper and housekeeper, Walter and Georgina. That night Chris talks to Missy about his mother, who died in a hit and run when he was eleven. As they talk, Missy hypnotizes Chris into a paralytic state, sending his consciousness into a void that Missy calls "the sunken place". Chris wakes up in bed the next morning and believes he had a nightmare, but later realizes that Missy has hypnotized him to quit smoking.
Guests arrive for the Armitages' annual get-together, where various older white couples take an uncanny interest in Chris. He meets Logan King, a black guest whose bizarre demeanor and familiarity unsettles him. He calls his best friend, TSA Officer Rodney "Rod" Williams, whom he tells about his hypnosis and the unusual behavior of everyone. He later tries to stealthily take a picture of Logan with his phone, but its camera flash causes Logan to suffer a nosebleed, and then hysterically yell at Chris to "Get out!" Dean claims that Logan has suffered an epileptic seizure, but Chris is skeptical. Chris and Rose go on a walk, and he convinces Rose to leave with him. While they are away, Dean holds a mysterious auction, a picture of Chris on display, with Jim Hudson, a blind art dealer, placing the winning bid.
While packing to leave, Chris sends the picture of Logan to Rod, who recognizes Logan as Andre Hayworth, a past mutual acquaintance. Chris also finds dozens of photos of Rose in prior relationships, including Walter and Georgina. Alarmed, Chris tells Rose that they need to leave immediately, but Rose and her family block him. Chris tries to escape but is incapacitated by Missy's hypnosis. Rod worries when Chris does not return or answer his calls and discovers that Andre Hayworth went missing months ago. He goes to the police, but is derided.
Chris wakes up strapped to a chair and is presented with a video that explains the family has perfected a method of pseudo-immortality in which Dean transplants the brains of his older friends and family into the bodies of younger people, selected by Rose and hypnotically prepped by Missy. Jim Hudson wants to use Chris as a host so he can regain sight, with Chris being doomed to exist in "the sunken place" for the rest of his life as Jim controls his body. When Chris asks "Why black people?", Jim says that everybody has their own reasons, but black people are currently in fad. Seeing stuffing is protruding from holes in his chair, Chris uses it to plug his ears, blocking the hypnotic commands that render him unconscious. When Jeremy comes to collect him for the surgery, Chris escapes, killing Dean, Missy, and Jeremy.
As he drives away, Chris hits Georgina. Guilt over his failure to help his mother forces him to take the unconscious Georgina with him, but she soon awakens and attacks him, causing the car to crash. Georgina, whose body was the vessel for Rose's grandmother just as Walter's is for Rose's grandfather, is killed. Rose and "Walter" catch up with Chris, but Chris is able to use his phone's camera flash to free the real Walter as with Logan earlier. Walter takes Rose's rifle and shoots her in the gut, then kills himself. Chris begins to strangle Rose, but cannot bring himself to kill her and stops trying just as a police car pulls up. Rose cries out for help, hoping that Chris will be seen as the attacker, but the driver turns out to be Rod in a TSA vehicle. He and Chris drive away as Rose succumbs to her gunshot wound.
- Daniel Kaluuya as Chris Washington
- Zailand Adams as 11-year-old Chris
- Allison Williams as Rose Armitage
- Bradley Whitford as Dean Armitage
- Catherine Keener as Missy Armitage
- Caleb Landry Jones as Jeremy Armitage
- Lil Rel Howery as Rod Williams
- Betty Gabriel as Georgina
- Marcus Henderson as Walter
- LaKeith Stanfield as Andre Hayworth/Logan King
- Stephen Root as Jim Hudson
- Erika Alexander as Detective Latoya
- Geraldine Singer as Philomena King
The film is the directorial debut of Jordan Peele, and marks a genre shift for him, as he has traditionally worked in comedy, although he has stated that he had been wanting to make a horror film for a while. He stated that the genres were similar in that "so much of it is pacing, so much of it reveals", noting that he considers that comedy gave him "something of a training" for the film. The Stepford Wives (1975) provided inspiration for Peele, who said "it's a horror movie but has a satirical premise." As the film deals with racism, Peele has stated that the story is "very personal", although he noted that "it quickly veers off from anything autobiographical."
Principal photography on the film began on February 16, 2016. It was filmed in Fairhope, Alabama for three weeks, followed by shooting at Barton Academy and in the Ashland Place Historic District in midtown Mobile, Alabama.
Peele originally intended for the film to end with Chris being arrested by police for the murder of Rose and her family, and intended the scene as a reflection of the realities of racism. However, by the time production had begun, several high-profile police shootings of black people had, in his words, made the situation surrounding racism "more woke", and he decided the film needed a happy ending for its lead.
Peele has also stated that he worked with several other possible endings before settling on the final, theatrical ending, some of which will be included on the DVD and Blu-Ray Release. As described by him, "Rod comes to break into the gated community, finds his way in. He's looking for Chris and he sees Chris looking in a window on Main Street, and he goes 'Chris!' and Chris turns to him and goes, 'I assure you, I don't know who you're talking about.'"
Michael Abels composed the film's score, for which Peele wanted to have "distinctly black voices and black musical references". This proved to be a challenge, as Peele found that African American music typically has what he termed "at the very least, a glimmer of hope to it". At the same time, Peele also wanted to avoid having a voodoo motif. The final score features Swahili voices, as well as a blues influence. The Childish Gambino song "Redbone" appears at the movie's beginning.
Get Out has been seen by some commentators as a satire on the dynamics of so-called "West Wing liberals", who consider themselves to be allies to movements against racism, yet do more harm than good. Lanre Bakare of The Guardian commented on this, saying:
The villains here aren't southern rednecks or neo-Nazi skinheads, or the so-called "Rebranded White Nationalism". They're middle-class white liberals. The kind of people who read this website. The kind of people who shop at Trader Joe's, donate to the ACLU and would have voted for Obama a third time if they could. Good people. Nice people. Your parents, probably. The thing Get Out does so well – and the thing that will rankle with some viewers – is to show how, however unintentionally, these same people can make life so hard and uncomfortable for black people. It exposes a liberal ignorance and hubris that has been allowed to fester. It's an attitude, an arrogance which in the film leads to a horrific final solution, but in reality leads to a complacency that is just as dangerous.
From the plantation-like looks of the Armitage house and property, the old-style costuming of some characters and the symbolic use of cotton in a key scene of the movie, Get Out weaves slavery-era America into the modern-day setting of this horror film, showing how the racism and terror of this historical era is still present in American society today.[tone] Peele said about the film, "The real thing at hand here is slavery... Not to bring down the room, guys. It's some dark shit."
The plot of the film also depicts the real-life crisis of black Americans who, when they go missing, arguably do not receive anything like the same attention from media and law enforcement that white female Americans who go missing do. As Slate's Damon Young writes, "Although black people only comprise 13 percent of America's population, we're 34 percent of America's missing—a reality that exists as the result of a mélange of racial and socioeconomic factors rendering black lives demonstratively less valuable than the lives [of] our white counterparts."
As of May 21, 2017[update], Get Out has grossed $174.9 million in the United States and Canada and $54.6 million in other territories for a worldwide gross of $229.6 million, against a production budget of $4.5 million.
In North America, Get Out was released on February 24, 2017, alongside Collide and Rock Dog, and was expected to gross $20–25 million from 2,773 theaters in its opening weekend. The film made $1.8 million from Thursday night previews and $10.8 million on its first day. It went on to open to $33.4 million, finishing first at the box office. 38% of the film's opening weekend audience was African American, while 35% was white, with Georgia being its most profitable market. In its second weekend, the film finished in second at the box office behind new release Logan ($88.4 million), grossing $28.3 million, for a drop of 15.4%. This was above average for horror films, which tend to drop at least 60% in their second weekend. In its third weekend, the film grossed $21.1 million, dropping just 25% from its previous week, and finished third at the box office behind newcomer Kong: Skull Island and Logan.
In March 2017, three weeks after its release, Get Out crossed the $100 million mark domestically, making Peele the first black writer-director to do so with their debut movie. On April 8, 2017, the film became the highest grossing film domestically directed by a black filmmaker, beating out F. Gary Gray’s Straight Outta Compton, which grossed $162.8 million domestically in 2015. Gray reclaimed the record two weeks later when The Fate of the Furious grossed $173.3 million on its 14th day of release on April 27. Domestically, Get Out is also the highest-grossing debut film based on an original screenplay in Hollywood history, beating the two-decades-long record of 1999's The Blair Witch Project ($140.5 million).
On Rotten Tomatoes, the film has an approval rating of 99% based on 263 reviews, with an average rating of 8.3/10. The site's critical consensus reads, "Funny, scary, and thought-provoking, Get Out seamlessly weaves its trenchant social critiques into a brilliantly effective and entertaining horror/comedy thrill ride." It is one of ten films to earn a 99% (six other films) or 100% (three films) rating with 100 or more reviews (it held a 100% approval rating after the first 139 reviews on the site were registered). On Metacritic, the film has a score of 84 out of 100, based on 48 critics, indicating "universal acclaim". Audiences polled by CinemaScore gave the film an average grade of "A–" on an A+ to F scale.
Richard Roeper gave the film 3½ stars, saying, "[T]he real star of the film is writer-director Jordan Peele, who has created a work that addresses the myriad levels of racism, pays homage to some great horror films, carves out its own creative path, has a distinctive visual style—and is flat-out funny as well." Keith Phipps of Uproxx praised the cast and Peele's direction, noting: "That he brings the technical skill of a practiced horror master is more of a surprise. The final thrill of Get Out—beyond the slow-building sense of danger, the unsettling atmosphere, and the twisty revelation of what's really going on—is that Peele's just getting started." Mike Rougeau of IGN gave the film 9/10, and wrote: "Get Out's whole journey, through every tense conversation, A-plus punchline and shocking act of violence, feels totally earned. And the conclusion is worth each uncomfortable chuckle and moment of doubt." Peter Travers of Rolling Stone rated Get Out a 3.5/4, and called it: "[A] jolt-a-minute horrorshow laced with racial tension and stinging satirical wit." Scott Mendelson of Forbes praised how the film captures the current zeitgeist and called it a "modern American horror classic".
Film critic Armond White of the conservative magazine National Review, gave a rare negative review of the film, stating that the film "[reduces] racial politics to trite horror-comedy, it's an Obama movie for Tarantino fans."
Accolades and nominationsEdit
|Award/Ceremony||Date||Category||Recipient(s) or Nominee(s)||Results||Citations|
|MTV Movie/TV Awards||May 7, 2017||Movie of the Year||Jordan Peele||Nominated|||
|Best Actor in a Movie||Daniel Kaluuya||Nominated|
|Best Comedic Performance||Lil Rel Howery||Won|
|Best Villain||Allison Williams||Nominated|
|Next Generation||Daniel Kaluuya||Won|
|Best Duo||Daniel Kaluuya and Lil Rel Howery||Nominated|
|Best Fight Against the System||Get Out||Nominated|
|BET Awards||June 25, 2017||Best Movie||Get Out||Pending|||
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