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.
In the near future, a weary Logan cares for an ailing Professor X, somewhere on the Mexican border. However, Logan's attempts to hide from the world, and his legacy, are upended when a young mutant arrives, pursued by dark forces.
Chris and his girlfriend Rose go upstate to visit her parent's 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 main theme, "Sikiliza Kwa Wahenga," is sung in Swahili with the exception of the English word "brother," a word which composer Michael Abels felt has a special, universal meaning among black people that did not need translation. According to Abels, the voices in the song represent the souls of black slaves and lynching victims trying to warn Chris to get away. The translation of the lyrics is, "Brother, run! Listen to the elders. Listen to the truth. Run away! Save yourself." See more »
Rose is supposed to be a couple of years younger than her brother Jeremy, but in the photo and video of the family taken in front of the house when they were children, the young Jeremy is significantly shorter than the young Rose. In the DVD commentary, Jordan Peele admitted that they had not seen the two child actors standing next to each other until they were already cast and preparing to film, and he did not have the heart to fire the young boy for being too short. See more »
I know she caught me off guard, right? But it's cool because... I'm cured. It worked!
Bruh, how you not scared of this, man? Look, they could have made you do all types of stupid shit. They have you fuckin' barking like a dog, flying around like you a fuckin' pigeon looking ridiculous. Or... I don't know if you noticed, white people love making people sex slaves and shit.
Yeah, I'm pretty sure they are not a kinky sex family, dawg.
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Get Out provided me with something I long for. The debut of a new filmmaker that makes you look hopefully into the future. Jordan Peele has done just that. He wrote and directed this smart, elegant film and even made us find a new way to classify it. Horror, comedy, drama, social satire. What matters really is that it's a first of sorts and then some. It introduced me also to a major talent in front of the camera. Daniel Kaluuya is sheer perfection. As an actor he projects and provokes empathy. Whatever your race or races you will be in his shoes, feeling what he's feeling. I was him, throughout. The gasps of fear mixed with the bursts of laughter from the audience - me included - made Get Out one of the most rewarding film experiences of 2017. Kudos also to Bradley Whitford and the phenomenal Catherine Keener. They are terrifyingly recognizable and what about Caleb Landry Jones? Menacing enough and comic enough - he reminded me of Peter, Chris Elliott's character in Everybody Loves Raymond - to be all the things he needed to be. Perfect. As is the human relief provided by the wonderful Marcus Henderson. As you may gather I'm celebrating. So, Mr Peele, thank you very much.
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