So­ci­etal satire serves up scares

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thought-pro­vok­ing na­ture that strikes at the very heart of so­ci­etal sub­cul­ture.

But that’s not to say Peele doesn’t know how to bring the fear. From men­ac­ing use of a tea cup and the world’s most dis­turb­ing game of bingo to eerie sound de­sign led by Michael Abels’ string-heavy mu­sic, genre fans aren’t short­changed.

It’s more of an un­com­fort­able sort of dread that drips through­out, though, as Rose’s par­ents – es­pe­cially a clearly-hid­ing-some­thing Keener – and creepy brother Jeremy (Caleb Landry Jones) do more with too-happy smiles, ‘wel­com­ing’ ges­tures and din­ner ta­ble sport­themed chat than any axe-wield­ing ma­niac chas­ing af­ter Chris ever could.

Kalu­uya gives a won­der­ful per­for­mance that pro­gresses from po­lite in the face of provo­ca­tion smiles and know­ing glances to full­blown ter­ror and Girls’ star Wil­liams – mak­ing her big screen bow – im­presses too in a role that re­quires much more than you’d orig­i­nally think.

Peele’s comedic back­ground comes to the fore with gen­uinely funny beats un­der­cut­ting the ten­sion – led by LilRel How­ery’s straighttalk­ing loud­mouth Rod.

His sto­ry­line twists are ef­fec­tive and sur­pris­ing and the film trans­forms into some­thing very dif­fer­ent dur­ing the lat­ter stages.

While he bor­rows from other hor­rors, it’s a trib­ute to the qual­ity of Peele’s writ­ing and di­rect­ing that Get Out is still un­like any­thing you’ve ever seen.

The year’s other genre contenders will do well to bet­ter this vir­tu­oso nail­bit­ing satire.

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