It sounds cliché on paper but comes to life on the screen. It deserves the success, with writer-director Jordan Peele creating a movie that is simultaneously scary and hilarious. “Get Out” is not a film that takes breaks for comedy routines (even if Howery allows a little relief, it's often in the context of how he's convinced all white people want black sex slaves), keeping us on edge and uncertain from the opening scene to the final one. Things take a complicated turn as Scottie becomes obsessed with her. Misery finds humor even in the darkest of moments, yet never loses its serious tone. However, with the themes, plot elements and feel of the film, there are some movies that feel in the same vein. In recent times, however, he has redeemed himself with stellar hits like Split, Wayward Pines, and now, The Visit. As a writer, Peele doesn’t quite bring all of his elements together in the climax in the way I wish he would, but he proves to be a strong visual artist as a director, finding unique ways to tell a story that goes increasingly off the rails. So, if you go out and breathe that air, you’ll most certainly die. What follows is the degradation of his mental health, resulting in delusions and paranoia. The story revolves around David, the sole survivor of a fatal train accident. The lurking presence of Rose’s odd brother (Caleb Landry Jones), who often looks like he’s auditioning for a remake of “A Clockwork Orange,” doesn’t help. We know that things aren’t what they seem, but the atmosphere is friendly yet excluding. When he introduced the film in Park City, he revealed that it started with an attempt to write a movie he hadn’t seen before. Like Get Out, the movie has a foreboding sense that something sinister is going on right under our noses but it's unclear what it is. The seemingly idyllic suburban setting for Get Out is a unique but not necessarily new concept in the horror genre. The story revolves around a trio of thieves who break into a blind man‘s house to make some quick money. He’s merely turning that up, using an easily identifiable racial tension to make a horror movie. Click or tap to get more information on any movie below. Amy Adams played the role of an art-gallery owner, who receives a manuscript of the new novel written by her ex-husband. © 2020 Cinemaholic Inc. All rights reserved. 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. He has a conspiracy theory about what Chris is seeing: "Sex slaves!". "Pablo S" turned the "snowflakes" derision oft used by conservatives toward the movie's naysayers in his comment: "Carl R" pointed out the hypocrisy of token black characters consistently dying in horror movies: Bringing a explicitly Hispanic perspective to the discussion, "Raul O" wrote: Even a backhanded compliment from "Sean M," who gave the movie five stars, proves that someone with a conservative mindset can find value in the film: Here's the trailer to give you a better sense of the film's premise and mood. You’ll either love it and consider it an art (I’m on this side! 8 Best Movies and Shows Like Snowpiercer You Must See. Tons of spoilers lie ahead, so proceed with caution. If he attempts anything silly, he will sniped. Like "Get Out," it blends social commentary (racism in "Get Out," women's lib in "Stepford") into a horror-movie setting. “They’re dead,” Joanna replies. Rosemary's Baby is a similar depiction of a cult, as the members are not mindless zealots, but people you might see in everyday life. Written and directed by M. Night Shyamalan, The Visit is an old-school horror that relies on creepy atmosphere and slow buildup for the most part. Check the embedded trailer below to see for yourself! The connection to “The Stepford Wives” — Bryan Forbes' unsettling 1975 flick with Katharine Ross, not the atrocious 2004 remake with Nicole Kidman — is particularly strong. This story is a classic case of “Don’t mess with a writer, they’ll put you in a book and do terrible things to you.”. Donnie Darko is not for everyone. Personally, I think it’s unfair if we expect him to create the magic of The Sixth Sense everytime. He understands that every time a black man goes home to visit his white girlfriend’s parents, there is uncertainty and unease. Throughout the film, we keep questioning the reality. As much as people like to throw around the term "Netflix and Chill," we wonder if they've ever found the right movie to help them in their quest to do just that. No one knows of their whereabouts, and there is no hope of rescue. Peele works well with actors too, drawing a great leading man turn from Kaluuya, letting Williams essentially riff on her “Girls” persona, and knowing exactly what to do with Whitford & Keener, both of whom have always had that dangerous edge to their amiability. "Get Out:" Chris is puzzled by another aspect of Logan's life: What's this young, handsome man doing with a woman three decades older and obviously out of shape? Others - like The Stepford Wives, Rosemary’s Baby, and The Wicker Man - have a similar vibe to Get Out with everyone in a small town or community harboring a dark secret. There is not a lot of action on the screen, but you’ll fight your own demons inside your mind. Get Out is certainly not the first horror film to use its premise to comment on modern issues. Being a huge fan, I compiled a list of some films like Get Out that’ll haunt you for a long time. Charmaine and Tom are another oddball Stepford pairing, and they're played by two vintage-sitcom vets: "Gilligan's Island" bombshell Tina Louise and Franklin Cover, milquetoast Tom Willis from the "The Jeffersons.". Like Get Out, the Unbreakable sequel is a psychological drama with some shocking left turns, and it has one of the best movie plot twists of the decade. The Mandalorian Faces Lies and Krykna in Chapter 10: The Passenger, Miles Morales Swings Players into the Future of Gaming, Lasting Fright: The Staying Power of The Cabinet of Dr. Caligari, Mr.