Chris and his girlfriend Rose go upstate to visit her parents for the weekend. At first, Chris reads the family's overly accommodating behavior as nervous attempts to deal with their daughter's interracial relationship, but as the weekend progresses, a series of increasingly disturbing discoveries lead him to a truth that he never could have imagined.Written by
The music for the song during the abduction scene, "Run, Rabbit, Run", was written by British Composer Noel Gay, whose birth name was Reginald Armitage, a connection with the Armitage family in the film. See more »
The Lincoln MKC uses a (large) fob, not keys to lock, unlock and lift the hatchback. Remote and Push-Button Start is standard on all models. Rose only needed to have it on her person (even if it was in her purse) to start the vehicle. Even then, she had to make sure she was actually carrying the device with her, so searching pockets for it was still plausible. See more »
Do they know I'm - Do they know I'm black?
No. Should they?
It seems like something you might want to, you know, mention.
Mom and Dad, my black boyfriend will be coming up this weekend and I just don't want you to be shocked that he's a black man - a black.
So, I was the first black guy you ever dated.
Yeah, so what?
Yeah, so this is uncharted territory for them. You know, I don't want to get chased off the lawn with a shotgun.
You're not going to. First of all, my Dad would have voted for ...
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I heard good things about this film, but beyond that I really didn't know much about it - comedy or horror or a mix, that was about it. What I got reminded me of Black Mirror in terms of its tone and dark but yet slightly comic material. The plot starts with an oddly racial situation, where the family are well meaning and accepting, but at the same time not in a way where the black/white divide is not clearly present in some way. From here it starts to add gentle shifts of tension and a creeping sense of unease and dread across the plot. It is this element that works best because it provides engagement, leading to a reasonably short period of reveal and resolution - this final section working best because of the investment in the mystery side.
The film is well paced to do this, and the plot is satisfying in the way that it uses race, but at the same time stands on its own feet without it being a theme if you don't see it or want it. First and foremost it is a horror, and it is an effective one. The cast work really well from top to bottom. Kaluuya leads the film well, and is convincing in all his moments. Williams is good, and holds her own alongside Whitford, Root, and Keener. Howery gets his performance just right - he could easily have been too much comedy, but he hits his marks importantly.
Get Out is a smartly created horror/chiller where race is used as a strong foundation, but not in a way that the film forgets what it is trying to do.
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