Race has a way of creating a bond of those that are the same and drive a wedge between those who aren’t. Simply seeing somebody of a different skin color can cause an awkwardness that leads to bad jokes, confrontation and things that make you hate humanity. You’d like to think looking cross-eyed at the “other” wouldn’t happen in 2017, but it still does, just in very hush manners.

    Get Out hits at something very true about human society, which is that people can politely try to not be racist, but still come off that way. That sort of treatment is insulting to African-Americans, but because there’s social stereotypes about black men acting angry, they’re trained to take it on the chin. Toss in a little Stepford Wives ​and Meet The Parents, and you have the strangest film success I've seen in awhile. 

    Putting that in a set-up of a black man named Chris (Daniel Kaluuya) meeting his white girlfriend Rose’s (Allison Williams) is genius. They’re so-called liberals (the dad attempts to connect by stating he would’ve voted for Obama a third time, which is just as cringe-worthy when said to a black man) and they seem nice enough at first.

    But then the cracks start to appear. The mother (Catherine Keener) hypnotizes Chris and sends him into a deep sleep. The father invites various rich friends over, all of whom ask awkward questions ("is it bigger?" one asks about Chris' penis). The brother (Caleb Landry Jones) shows up and is obsessed with Chris’ physical complexion, believing he’s perfect for Mixed Martial Arts. Hmm, African-American’s being perceived as being perfect for sports, where have we heard that before?

    Even the black people are odd. The landscaper sprints around the garden and speaks about Rose like a creep. The maid has a smile on even as she’s breaking down crying. Another shows up with a significantly older wife and flips out after Chris takes a picture of him. Somehow, they even come off even stranger than the white people in this.

    Throughout all this increasing absurdity, Chris stays reserved. A more critical eye would call Kaluuya’s performance a little too lax, but he nails the way black men are expected to act in society, and how that actually can allow them to become doormats for arrogant white people. 

    That’s until it turns out the father runs a body snatching ring, where people bet on the physical features of African-Americans and undergo surgical procedures to take them. Afterwards, the black people receive the white person's consciousness. So that’s what happens when you meet the parents. 

    Or are they made slaves? Get Out sometimes gets confused over what the true threat to Chris is, because neither of the two black servants have any lost body parts. They act strange sure, but there’s never any indication how they helped their highest bidder. It’s nitpicking, but I was didn't quite get what happened to the victims. 

    It’s also a tad predictable, if only because there’s no way I bought Chris believing Rose would know nothing about this. Her role in the scheme is played for a twist, which is still enjoyable even if you know what’s coming. In addition, a sub-plot regarding a friend’s attempt to rescue Chris takes over the film before being forgotten about. 

    The interesting thing in Get Out is seeing how every facet of an African-American’s perception works against Chris here. He’s supposed to be a nice black man, so he doesn’t turn down the mom’s request for hypnosis. Chris doesn’t want to make a scene, so he doesn’t make confront a guest when she asks Rose if his penis is bigger. This is as much a social commentary on the soft discrimination black people face as it is a cracker-jack comedy/thriller. Perhaps I can’t really speak to every detail of racial discrimination on display here (because I’m lucky enough not to have to experience it), but it was eye-opening to see what I did notice. 

    I saw this film with my girlfriend, who’s active in social justice causes but far less so in watching horror movies. She enjoyed it due to the political message and I love it because of how it weaved in its commentary with blood and guts. You could call this a perfect date night movie; I call it the best movie of the year so far. See this and have your mind opened. 

Published by Jagger Czajka