Get Out

Out Now On-Demand

Just because you're invited, doesn't mean you're welcome.

Racially charged horror from Blumhouse Productions (Paranormal Activity, Ouija) starring Daniel Kaluuya (Sicario) in an Oscar-nominated performance. Along with a nomination for Best Picture and Director, Jordan Peele won an Academy Award for his original screenplay.

Now that Chris (Kaluuya) and his girlfriend, Rose (Allison Williams), have reached the meet-the-parents milestone of dating, she invites him for a weekend getaway upstate with Missy (Catherine Keener) and Dean (Bradley Whitford). At first, Chris reads the family's overly accommodating behavior as nervous attempts to deal with their daughter’s interracial relationship, but as the weekend progresses, a series of increasingly disturbing discoveries lead him to a truth that he could have never imagined.



Best Original Screenplay, Academy Awards 2018

Directed by

Written by



Rating: MA15+ Strong themes and violence


Official Site


Aaron Yap


It’s hard to remember the last time we had a horror film that burns with such lacerating topicality as Jordan Peele’s Get Out. Employing genre conventions in service of skewering and exposing the insidious nature of racism, it suggests the iconic, politically charged, zeitgeist-defining wallop of your Romeros and Carpenters of yesteryear.

It’s ostensibly The Wicker Man remodeled for the #BlackLivesMatter era — smart, accessible, pin-sharp, and also a more authentic, disturbing genre-tweaking pic about slavery and the antebellum South than Django Unchained. This rings resoundingly true in the sense that Peele’s shrewd, mordantly funny — and often discomforting — portrait of preening white privilege and entitlement reveals how Tarantino’s well-meaning, fist-bumping solidarity with black culture is not dissimilar to the wealthy elites here who fawn profusely over all aspects of otherwise-everyman protagonist Daniel Kaluuya’s blackness.

The set-up — a black boyfriend meeting his white girlfriend’s parents for the first time — is as switched-on as any of Peele’s sharpest sketch work with former comic collaborator Keegan-Michael Key. It’s perfectly oiled for optimal button-pushing squirm, which in this case, manifests itself in an outlandish plot involving kidnapping, hypnosis and pod-people creepiness.

Peele is a skillful puppet-master, with an efficiently honed grasp of timing, but he’s an even better, more astute chronicler of race relations, unearthing true terror in the toxicity of seemingly benign social pleasantries and the enveloping aloneness of the minority experience. Get Out is fundamentally the potent cinematic answer to “I can’t be racist because I have a [ethnic minority] friend”. It’s essential.

FilmInk (Australia)


An effective, thought-provoking, slow-burn thriller.

New York Times


Part of what makes "Get Out" both exciting and genuinely unsettling is how real life keeps asserting itself, scene after scene.

Los Angeles Times


There's so much here that Peele gets right, and he delights in turning familiar thriller tropes on their head: In this racially charged context, he knows exactly how to exploit the sight of an approaching police car for maximum stomach drop.

Guardian (UK)


It's rare for a studio horror film to feel this fresh and daring and it's arrived at a frighteningly topical moment for a country where racism is scarier than ever.

Time Out (London)


A horror film with the power to put a rascally grin on the face of that great genre subverter John Carpenter (They Live), Get Out has more fun playing with half-buried racial tensions than with scaring us to death.

Little White Lies (UK)


Get Out takes racism's more traditional forms - slavery, incarceration, exploitation, blackface - for a new, thoroughly modern appropriative spin.

Variety (USA)


Blending race-savvy satire with horror to especially potent effect, this bombshell social critique from first-time director Jordan Peele proves positively fearless - which is not at all the same thing as scareless.

Hollywood Reporter


One of the most satisfying thrillers in several years... proves that its first-time director, Key and Peele costar Jordan Peele, has plenty of career options if he should grow tired of doing comedy in front of the camera. (Darren Bevan)


What's not really up for debate is how inherently smart and devilishly taut Get Out is.


Entertaining, suspenseful and thrilling with a twisting and original plot.

OMG The insanity of it all

Loved this film it's simply shot, acting is just divine, beautifully plotted it just sucks you into the story from the first scene you are hooked, you'll laugh, a gasp but mostly you'll laugh because it's a crazy insane ride you will not forget in a hurry, a must see.

Crazy, Scary, Mental, Beautiful

Get Out

Like a crazy mix of ‘Wickerman’ ‘The Stepford Wives’ ‘Saw’ ‘Selfless’ ’Skeleton Key’ and ‘Wrong Turn’. It really had me guess a few times and frustrated on the edge of my seat that the main guy wasn’t doing anything. Aargh.. Really great film and well played out. Good timing and crazy beautiful ending.

Genre : Drama, horror, thriller, sci-fi

4/5 : it didn’t need much more to tip it over the edge, but most people (I think) will feel betrayed by the length and ending of this picture.




Stepford Wives meets Spike Lee

A well made satire with comedic moments. More of a mystery/thriller. A shame this has been over rated as a horror. It's not a horror at all.




A movie full of cringe moments but in a good way.

A movie full of cringe moments but in a good way. You know what is going on and can't wait for it to happen but in the end it never runs how you expect.




You never know what is happening

Normally when you see a film you get an idea of what is going to happen, or there are parts of the upcoming plot you can work out, but not with Get Out - all my thoughts were totally wrong and the film keeps throwing up the unexpected which is great and the ending is quite different and cool to your standard horror. Plus I jumped twice during the film and that virtually never happens anymore so even better!

An entertaining horror spoof mixed with clever racial satire.


You know we are in a post-Oscars movie slump when a satire horror like Get Out (2017) can generate global praise for bravely cutting new ground in film. The truth is: it does not. What it does is satirise the political correctness of a white majority that expresses racial tolerance but harbours malice for those who are different. Set aside that message and you are left with a well-paced, well-acted but predictable horror film that preys on white guilt and coloured fear.

The storyline is clear-cut and entirely consistent with the standard tropes of zombie-like horrors. Cool black photographer Chris Washington (Daniel Kaluuya) and his gorgeous wide-smiling girlfriend Rose Armitage (Allison Williams) have been dating seriously for a few months when Rose arranges a weekend to meet the parents. She insists that it is not worth mentioning that Chris is a black dude as her neurosurgeon father Dean and psychiatric hypnotherapist mother Missy are so liberally non-racist that “they would have voted for a third Obama term”. Driving onto the sprawling grounds of her parent’s home Chris notices a black gardener with a weird smile who stares vacantly. The camera cuts to Chris’s face and we know immediately what he is thinking. After an effusively over-friendly greeting by the parents at the front doorstep, Chris sees a black housemaid with the same weirdly vacant stare. After an awkwardly polite dinner where Chris is subjected to the usual new-boyfriend interrogation, Missy tricks him into being placed in a hypnotic state that renders him controllable by the tinkling of a spoon in a teacup. From here on, the story shows Chris increasingly entrapped by the family until he realises his life is in danger and that he must ‘get out’.

From the minute that Chris sees the look on the gardener’s face most of the script is laid bare. If that does not sufficiently telegraph the narrative arc that lies ahead, the dinner with the parents make the trap and its dangers obvious. The story pivots on the plausibility of a tinkling teacup making Chris comatose and the duplicity of his girlfriend as the collector of fine black human specimens for neuro-transplant purposes. But of course, in the horror genre there are no boundaries for plausibility and no limits to the gory ways of ending someone’s life. While the plot’s weirdness requires suspension of disbelief, the casting and acting is excellent and delivers entertainment value for horror audience’s money. Although words like original do not suit this film, it is tightly directed and holds enough twisted surprises to keep viewers engaged as it cruises to its entertainingly blood-filled climax.

Some of the over-hyped publicity surrounding this film dwells more on its racial message than its merits as a horror film. Indeed, some are even calling it a landmark in socially progressive film. For this to pass any plausibility test, we must be prepared to imagine that the most vocal middle-class supporters of racial equality in contemporary society are most likely the ones that, subliminally at least, harbour the most evil intentions towards coloured minorities. This would be a regressive exploitation of a complex social issue that, in this writer’s view, is not what this film is about. It’s just an entertaining horror spoof mixed with clever racial satire that is filling cinemas while we wait for the next round of Oscar nominated movies.

Fab mix of horror, comedy & slavery

**Warning - may contain spoilers.**

I wasn't too sure of what to expect from the movie since it wasn't a big budget Hollywood movie and didn't have big names in it. I didn't want to read too much about it to avoid spoilers. Boy was I surprised to be thoroughly entertained with puzzlement, wondering what was going in with that family. Then horror, comedy, realising what it was all about, rooting for the main character, then cheering at the end. The storyline was good. I usually guess plots in the beginning, but didn't figure out exactly what was happening till closer to the end. Definitely recommend this movie, and would even watch it again.

Social commentary AND splatter!

A movie that will scare you, cause you think, make you laugh and cheer for the good guys!

Suspenseful thriller!

Get out lives up to the hype, from the uncomfortable music to the fantastic performance by Betty Gabriel this movie will keep you on the edge of your seat the whole time.