Peele succeeds where sometimes even more experienced filmmakers fail: He's made an agile entertainment whose social and cultural observations are woven so tightly into the fabric that you're laughing even as you're thinking, and vice-versa.
A marvel of tightly controlled pacing, off-kilter visuals, and rich atmosphere, Peele's film owes a good deal of its exquisite shocks to the claustrophobic terrors of Rosemary's Baby and the manicured dread of Bryan Forbes's The Stepford Wives.
By focusing the storyline on a particular form of racism -- the kind that's often disguised as peculiar envy -- Get Out reveals something more insidious.
Following Oscar's pomp and self-importance, viewing Jordan Peele's fiercely entertaining thriller offers the perfect awards hangover cure. Audiences leave the theater shaken and stirred.
The strenght of the film is in the perfection of the narrative artifact that always seems right in taking each decision, always brilliant, always sour. [Full review in Spanish]
What makes Get Out more than just a slam-bang scarefest is that, in its own darkly satiric way, it is also a movie about racial paranoia that captures the zeitgeist in ways that many more "prestigious" movies don't.
Jordan Peele's Get Out contains a fascinating idea and some intriguing social commentary, but it's ultimately let down by bland execution and writing that never allows the idea to come to full fruition.
Jordan Peele makes his directing debut with a horror movie that sticks closely to genre convention even as its ribbing of white liberals hardens into a social point.
