Jordan Peele’s Get Out was the reason I picked up a pen and started writing my own screenplays. The thriller-esque suspense, edge-of-your-seat horror, and social commentary make this film one of the most enjoyable and impactful movies of the 21st century.

Get Out was the first screenplay I read from start to finish, followed by a rewatch of the film about four days later. I finished the screenplay with nearly 200 notes/commentary, as well as learning things I never thought of while watching the movie for the first couple of times.

For example, one thing I read in the screenplay that stood out was the opening scene with Chris and Rose.  When first introduced to Chris, we see him in the mirror with shaving cream. Chris’s cut while shaving foreshadows the danger he will be in for the rest of the film, while also using white foam, showing that the danger is catalyzed by “whiteness”. As this is happening, we are introduced to Rose, who is also seen through a mirror. She is looking at a selection of pastries to buy for her and Chris, implying that she is the “selector” of the Armitage family. Coming home with two pastries, rather than one, since she was indecisive, also represents the privilege she has grown up with. Both scenes, although completely unrelated at face value, utilize mirrors to connect them as clear foreshadowing moments to the horror that will come later.

Foreshadowing within Get Out is a lot more evident on the second or third watch, once you already know what’s going to happen. For example, Chris telling Rose that he doesn’t want to be chased off the lawn by a shotgun is a subtle nod to what’s going to happen later.

One of my favorite aspects of Get Out is the connection and relationship between Georgina and Chris. On the surface, it seems to be nothing more than a creepy housemaid who, in Chris’s eyes, might be jealous that Chris is with Rose and that she might like him. However, the subtle moments where she acts “weird,” such as spilling the drink or crying while smiling, are Georgina attempting to escape the sunken place and alert Chris of the danger he is in. Then, when Chris is escaping the Armitages’ house, he sees Georgina on the ground, thinking he is required to help her get out of the place that almost got him, just like how Georgina felt she was obligated to fight the sunken place and warn Chris. Georgina also symbolizes Chris’s relationship with his mother; how Chris previously sat there and did nothing as his mom died, he overcame that repressed memory, and attempted to make up for it by helping Georgina rather than just watching her die helplessly.

Beyond the more intricate aspects of Get Out, the movie works so well because of its face value beauty. A lot of audience members don’t want to sit there and try to figure out the subtext of characters or the hidden meanings behind each word, and that is why making such an intricate film that also connects to the masses is so difficult. Attempting to include more complex, hidden elements is hard when also trying to balance having a movie in itself that is great and doesn’t need to be understood at a granular level to get it or like it. Get Out balances this challenge perfectly; not only is it complex and beautifully layered, but also super simple and entertaining at its ground level. The plot line itself, coupled with the comedic relief offered by Rod, TSA, and the overall horror-esque feeling, work together to wonderfully create a great movie that could be enjoyed by all audience members.

One thing horror movies get wrong is the realism, and I’m not just talking about including supernatural elements or impractical monsters within a film. I’m talking about the times in horror movies when the audience screams, “It’s obvious you’re in trouble, GET OUT!!!” Horror movies typically portray the main character as practically oblivious to the fact that they are in danger, something that just wouldn’t happen in real life. This affects the viewing experience as the audience no longer feels or connects to the protagonist, but instead is frustrated with the ignorance they seem to have when it comes to sensing danger. Peele takes this issue in horror and, in my opinion, nearly flawlessly fixes it. Chris isn’t oblivious, but he also isn’t saying “alright I’m out” right away and getting into a cab. Instead, Peele uses skepticism and constant microaggressions to make Chris feel somewhat comfortable while not overly in danger. Using Rose herself, someone Chris loves and trusts, also helps justify Chris’s decision to stay rather than getting out, as she reassures him throughout while not blatantly giving up her true, psychotic nature. One thing Peele mentions in an interview that I agree with is the idea that the protagonist doesn’t have to be successful in their attempt to leave before something really terrifying happens, but that the situation or skepticism has to just be brought up. This does two things: not only does it add to the realism of the story, but it also satisfies the audience's voices that scream “LEAVE!”

The writing and story itself couldn’t have been executed without amazing performances, which everyone in the film had. Whether it be Daniel Kaluuya, who played Chris, or Caleb Jones, who played Jeremy, every actor and actress added exactly what they needed for this film to go from great to one of the best. One of the most chilling scenes is when Chris experiences the sunken place for the first time, and it’s through Daniel Kaluuya’s facial expressions that make it so spectacular and horrifying. The lack of control and captivity Chris is in could be seen through his wide-open eyes and mouth more than the Sunken Place itself, showing one of the most impactful performances by Kaluuya in the film. Allison Williams, who played Rose, was also sensational. She was able to play a psychopath so well, the switch between her fake and true identity was so natural and authentic that it was honestly breathtaking. Being able to come off as genuine and comforting to Chris throughout the entire film, while having the main intent of destroying his life, shows just how much of a mastermind Rose is as a character, and even how much more Allison Williams is as an actress. And then, of course, there’s Rod, TS Mother F’ing A. Lil Rel, who played Rod, was hilarious! The lines were funny, but it was his delivery that made them hysterical. Rod’s comedic relief during this film was needed, and something that allowed for the audience to loosen up once in and while during very tense moments.

While the pacing of Get Out is sensational, I do think the ending is where the movie loses me a little. While the climax and killing sequence at the end is one of the most cathartic and satisfying scenes, I feel like it slightly shifts the tone that the film masterfully built in the entire first half. What was originally more psychological and intricate tension that utilized micro-aggressions to portray the horror aspect of the film, turned into a more traditional horror resolution that feels a bit abrupt and nothing special. It wasn’t that the ending didn’t hit, because it did, but it’s that the ending felt more conventional for how unique and special the rest of the film is.

As an aspiring screenwriter and director, Get Out has been one of the most impactful films I have read and seen so far. Peele’s masterclass in blending tension, thriller, social commentary, and even well-paced comedic relief cements Get Out as one of my favorite films of all time!