Get Out

Peele seduces, subverts and manipulates audience expectations - as the masters Alfred Hitchcock, John Carpenter, and Stanley Kubrick did before him.

This brilliantly provocative first feature from comic turned writer-director Jordan Peele proves that the best way to get satire to a mass audience is to call it horror.

Everything in Get Out seems innocuous on first blush.

Kudos to Peele for tackling a painful subject in such a massively entertaining and thoroughly memorable fashion. [Full review in Japanese]

What makes [Get Out] a worthwhile experience is Jordan Peele's skillful genre intervention.

It's a game-changer.

To come right to the point, “Get Out” is an 104-minute living embodiment of a slow-burning WTF moment that just keeps growing with every new detail.

An atmospheric, albeit strange, combination of The Stepford Wives (1972) and Guess Who's Coming to Dinner (1967), but also with some "over-the-top" horror in the mix and hardly offering anything new or subtle by the end.

The experience of Get Out is unforgettable, and will hopefully provoke audiences to wrestle with why this material matters to so many. As a directorial debut, it’s hard to top what Peele does here.

Get Out achieves something that few films of its ilk do: build a scary story with human pathologies instead of ghosts and monsters... [Full review in Spanish]