Max Yera co-editor-in-chief
Jordan Peele’s horror-comedy, and debut feature film, “Get Out” has seemingly emerged as one of the most talked about and critically acclaimed releases of 2017, and for good reason.
This dark, strange and gripping tale of a black man (Daniel Kaluuya) visiting the family home of his white girlfriend (Allison Williams) manages to simultaneously scare and humor audiences, all the while providing social commentary on race relations in the United States today.
Kaluuya emerges as a likeable and believable protagonist with a knack for dramatic, intensified dialogue, while oftentimes simultaneously (as appears to be the theme) maintaining a tone of lighthearted, comedic curiosity.
Likewise, the supporting cast of Williams and veteran actors Bradley Whitford and Catherine Keener (who play Williams’ parents), as well as standout newcomers Betty Gabriel and Lakeith Stanfield, is particularly strong and effectively molded by Peele’s direction.
Yet perhaps most memorable is the film’s unusual tone that balances elements of comedy and horror. Such comic relief is oftentimes provided by comic Milton “Lil Rel” Howery or situational humor that tends to echo Peele’s previous efforts in “Key and Peele,” while elements of horror are effectively implemented through both psychological and typical “jump scare” tactics.
Peele’s talent for writing a gripping, emotionally stimulating story is on full display, and, without giving too much away, manages to capture (for fans of “Key and Peele”) the abnormality of such beloved sketches as “Continental Breakfast” and the humor in the intended solemnity of say “Family Matters.”
Regardless of whether you resonate with the previous references, do not be fooled. Jordan Peele’s debut feature film is not “Key and Peele”. Rather, “Get Out” is its own fresh take on entertainment: ernest yet comedic, astounding yet lasting.