“Get Out” is a paranoid thriller that like the best conspiracy thrillers, disturbs the audience with its expert use of unsettling images and situations throughout that fill you with horror.
The film starts out like a classic comedy-drama, in the vain of Guess Who’s Coming to Dinner, in which a young African-American man meets his Caucasian girlfriend’s parents for the first time. But the boyfriend, Chris, notices something strange about all the black people he encounters in the idyllic community and learns of the more sinister designs the family have in mind for him.
Financed by Blumhouse, it was exactly the kind of off-beat, a zeitgeist-hitting film that could be spun into a horror hit—provided it could be made cheaply. The company keeps budgets low by offering deferred payments, hence taking bigger creative gambles with stories that may never get made as Jorden Peel identifies himself. “You want to hear a cool story? The caveat is: No-one will make this movie.”
|Domestic Total Gross: $200,484,140|
|Distributor: Universal||Release Date: February 24, 2017|
|Genre: Horror||Runtime: 1 hrs. 43 min.|
|MPAA Rating: R||Production Budget: $4.5 million|
Blumhouse when asked what makes a good movie simply says “Great stories and acting always win the day. If the story behind the scares is dramatic and the filmmaking is great, it works. If those things aren’t great and the scares are secondary, it doesn’t.”
Blumhouse also caps all movie budgets at the $5m mark a business model that has proved lucrative for them in the case of their previous productions Paranormal Activity, Insidious, and Sinister franchises and Get Out is now part of that hugely successful family.
However, Get Out goes above and beyond these movies, as the scenarios that are even now truths that people of colour can relate and which we laugh at, to begin with, and are central to the success of this film. Peele successfully manages to place real issues into the context of a horror film.
“The genesis for the film was when Obama was elected and there was this sentiment that we can stop talking about race now because we’ve just solved the problem,” he tells me on the phone from Los Angeles. “We are now living in a system where racism is involved with policy. We’ve left the era where people were trying to pretend that race doesn’t exist.”
The true horror and power lie’s in the fact that we are living in a time where there is a right-wing political shift so to be more specific this a “Social – Horror” a metaphor for the world we live in, no ghouls and creatures of the dark, just good old fashioned race politics that resonated with global audience, to the mark $200m plus.