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Get Out

Jordan Peele

It’s time for a young African-American to meet with his white girlfriend’s parents for a weekend in their secluded estate in the woods, but before long, the friendly and polite ambience will give way to a nightmare.

“For me, there are only three kinds of films — good, bad and occasionally great. “Get Out” is made with the finely honed precision of a master. It transcends genre, as do “Psycho,” “Alien” and “Rosemary’s Baby.” Most of us go to a movie to laugh, to be moved or to be scared. We want an emotional response and some kind of satisfying closure. “Get Out” delivers on all cylinders. There’s not a wasted frame or moment.” – William Friedkin, Variety

“I’d say that no screenwriter in 2017 did more while working from scratch than Peele did. . . . Get Out’s script privileges character and situation over allusion; its greatest moments of recognition are rooted in lived, rather than viewed, experience.” Ringer

“The totality of “Get Out” is so original that it defies labels. It seems to have been thought about daily for years or more, so exact are its meanings, references, compositions, cuts and music cues. Peele’s command of historical and literary symbolism is so complete that he can free-associate even as his script is taking care of business. So many details here have an audacious charge that goes beyond character-building to connect with something larger and more alarming.” Ebert.com

“Jordan Peele fashions America’s foundational horror story—racism and the history of slavery—into a nightmare of a movie that astonishes and, like no American genre movie before it, truly pulls no punches. . . . What’s extraordinary is the way Peele turns genre inside out so that none of it, including our own knowing response, is a laughing matter.” Film Comment

“This subtle, strange, bitterly comedic emphasis on the totemic and symbolic power of objects, as seen through the eyes of the film’s protagonist, lends Peele’s direction classical reverberations. Even more than a Hitchcockian tone, Peele recaptures and reanimates the spirit of the films of Luis Buñuel… In “Get Out,” Peele’s own cinematic historical consciousness, transformed through his own inner architecture of political thought, blasts this classical style into the future.” Richard Brody, New Yorker


  • 2/28 | 10:15PM
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