The Definitive Guide to Living in the Capital , Cairo , Egypt

An uneasy sense of paranoia and subtle tension are the two crucial components of the horror-satire, Get Out. Stylish, clever and genuinely creepy, the film marks the directorial debut of Jordan Peele – comedian best known for his work in Comedy Central’s sketch series Key & Peele – and as far as first-time efforts go, Get Out is a surprisingly thoughtful, funny and an effectively disturbing thriller

After five months of dating, Chris Washington (Kaluuya) and Rose Armitage (Williams) have decided to take the next big step in their relationship with the couple planning on visiting Rose’s parents at their countryside home for the weekend. Unsure about the visit, Chris is worried that Rose hasn’t informed her parents that he is black, with Rose reassuring her new man that her parents are not racist and that he has absolutely nothing to worry about.

Upon arriving, the couple is warmly welcomed by Rose’s dad, top-neurosurgeon Dean (Whitford) – who is quick to inform his daughter’s new boyfriend that he would have voted for Obama for a third term if given the chance – and mom, Missy (Keener); a hypnotherapist who is eager to offer Chris some therapy in order to get to the root of his troubled childhood growing up as an orphan. All things considered, the weekend seems to kick off to a relatively positive start but, Chris is soon put on edge when he meets the household’s two black servants, housekeeper Georgina (Gabriel) and handy man, Walter (Henderson) whose blank stares and peculiar behaviour is nothing short of disturbing. Sharing his concerns over the phone to best-friend, Rod (Howery) – a proud TSA officer who was initially against the visit – Chris soon realises that there’s something peculiar about the black people in the area.

Peele starts the movie on a highly relevant and a disturbing note with an eerie opening scene involving a black man, who appears to be lost late one night in what seems to be a mainly white neighbourhood, being abruptly abducted by an unknown assailant. Imprinting the idea that a black man – someone who Hollywood has always enjoyed portraying as a source of fear – as the vulnerable target instead, is a clear echo of the current racial hostilities in America, with Peele continuing to reflect and explore these genuine anxieties throughout the course of the movie. The slow-burning tension is palpable and Peele never loses his focus, sustaining the pressure and suspense all the way until the end, with the twists and turns being revealed gradually – you won’t see them coming.

British star Daniel Kaluuya – see Black Mirror – delivers a spectacular performance providing his everyman character with a sense of likability throughout, while his onscreen chemistry with Williams feels easy and natural. The supporting cast is equally commendable, whilst funnyman Lil Rel Howery provides most of the comic-relief.

All in all, Get Out is one strong, creepy and at times, yes, funny picture which successfully combines horror and comedy with a relevant and message. Surprisingly gory towards the end, this is not your everyday shocker, but a clever and important racially-charged thriller that will leave you with plenty to think about long after the credits roll.