Sure, Dean ( Bradley Whitford) and Missy ( Catherine Keener) seem friendly enough, but almost too much so, like they’re looking to impress Chris. And Rose swears her dad would have voted for Obama a third time if he could have.įrom the minute that Chris and Rose arrive at her parents’ house, something is unsettling. His TSA Agent buddy (a hysterical LilRel Howery) warns him against going too, but Chris is falling in love with Rose. Rose hasn’t told them he’s black, which she blows off as no big deal, but he’s wary. Suddenly, and perfectly staged in terms of Peele’s direction, the intensity of the situation is amplified and we are thrust into a world in which the safe-looking suburbs are anything but.Ĭut to our protagonists, Chris ( Daniel Kaluuya) and his girlfriend Rose ( Allison Williams of “Girls”), preparing to go home to meet her parents. It’s an otherwise empty street, so the guy knows something is wrong. A car passes him, turns around, and slowly starts following him. A young man (the great Keith Stanfield, in two other movies at this year’s Sundance and fantastic on FX’s “Atlanta”) is walking down a suburban street, joking with someone on the phone about how he always gets lost because all the streets sound the same. “Get Out” opens with a fantastic tone-setter. What if going home to meet your girlfriend’s white parents wasn’t just uncomfortable but downright life-threatening? Peele infuses the age-old genre foundation of knowing something is wrong behind the closed doors around you with a racial, satirical edge. His film is essentially about that unsettling feeling when you know you don’t belong somewhere when you know you’re unwanted or perhaps even wanted too much. To be fair, Peele is clearly riffing on some films he has seen before, including “The Stepford Wives” and “ Rosemary’s Baby,” although with a charged, racial twist.

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