‘Get Out’ in 200 words

When a clearly unconventional horror film with all the hallmarks of a cult hit becomes an immediate box office smash, it’s usually worth checking out.

Young, black photographer Chris travels to the suburbs with his white girlfriend Rose to meet her very white family for the first time. Things are merely awkward at first, but assailed by rising tension, hypnosis and creepy servants, Chris begins to suspect something more sinister is going on.

‘Get Out’ is not an all-out gore-fest, but something far more insidious; getting under the audience’s skin by making them supremely uncomfortable. Cringe-making, casual racism, thinly veiled hostility and bizarre interactions all add to the inexorable slow burn of tension. As Chris’s unease grows, so does the audience’s, shredding nerves in preparation for the shocking final act.

As an exploration of racial politics through the vehicle of horror, ‘Get Out’ treads poignant new ground. Gun-toting hillbillies have been replaced as the avatars of racism by the overtly liberal middle classes, and in 2017 that racism is whole lot scarier armed with wealth, power and privilege.

Bordering on traumatising and so relevant to current issues; ‘Get Out’ is one of the best films released so far this year.

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