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Get Out is an intense, unnerving movie that keeps you on the edge of the seat --- only if you are satisfied with an adrenal rush and not looking for any depth in the characters or the story. It's a great production done with superb acting, music and visual arrangement, but as a movie about racism it just doesn't go beyond.

It starts with the romance between Rosie and Chris, the sweet white girlfriend and the talented African-American photographer, where Rosie asks Chris to spend a weekend at her posh parents' country house. It's just a weekend, but as things get awry, it escalates to be a matter of life or death. The backdrop can be easily taken as a trope for racial relations/tension in America, but contrary to what Peele the director aspired to do, this movie just couldn't provoke any discussion or shed light on the touchy issues. To have the guests "locked up" in a grandiose house with two distinct camps of the white and the black is also a scene that occurs in Tarantino's Django Unchained. While Django Unchained uses a fictional story to unveil the cruelty and injustice of black slavery, Get Out feels more like a sorcerer's tale that manages to carry the label of racism because the victim happens to be a black. The characters are diabolical and psychotic, but they are also flat and uninspiring. They might carry a secret agenda, but it just makes them look like an underground cult group who somehow has a bit of a supernatural power – it must be because some of the things they do are scientifically impossible, e.g. the surgery scene. Their persona and the things that they can physically do – hypnosis by the mother and surgeries by the father – are just not representative at all. They do not carry any association to racists or the xenophobic. In fact, they are also kind of dumb to have that kind of video conferencing set-up in the room where the victim gets to talk to the perpetrator. It works well if the movie wants to create suspense or terror by paying tribute to the horror classic Saw, but again, it doesn't add any depth to an intellectual reflection on racism.

Some people comment that the film commits dogmatic stereotypes. I think the only stereotype used here is that the black and the white are by default at war with each other. Yet, it's used more as a convenient trick to shove the audience into this them-versus-us mentality so we get as suspicious as Chris. The horror is real, the acting is fantastic and does send the chill off your spine, but it doesn't stimulate your thinking or perpetuate any racial prejudices. If this movie is played in a virtual reality movie house, it's top notch; but if it attempts to be meaningful, it is not.

Satire doesn't get much darker than this, a perspective derived from the opposite of bliss, the frictions and prejudice society draws, to control and manipulate, exploit and ignore.

What would you do, if someone took control of you, could control you're every move, set the tempo to your groove, had the first and final say, how you went about your day, chose the things that you would do, when and where, with what, with who. If you tried to make a stand, put a halt or raise a hand, the mighty structures that surround, would envelop and impound, one for all and all for one, will ensure you'll soon be gone, but be under little doubt, that you're never getting out.

An outstanding piece of cinema and satirical observation with added barbs.

Jordan Peele's directorial debut is an exhilarating horror thriller that also manages to spark laughter and comment on social issues. The cinematography, tropes, and soundtrack echo horror, but the film finds abundant moments of comic relief like when a father reassures the main character he isn't racist by claiming, "I would have voted for Obama for a third term." Before the plot delves into a traditional horror frenzy, it mines the horrors of racism. The social commentary plays on audience expectations and results in both humor and suspense. Delivering both on the expectations of the genre and the comedic expectations of a Jordan Peele creation, GET OUT is simply amazing.

I'll say right off the bat, I didn't really know who Jordan Peele was coming into this movie. I knew he had a show with Keegan-Michael Key and was a comedian of sorts. What I didn't know was that hiding underneath all that was a genuine fan of classic horror just waiting to get out.

Get Out surprised me for a number of reasons. The first is it kept me wondering what exactly was going on. There was just enough there to build atmosphere and tension without giving away the surprise. And it was delivered with such skill and care that It truly unfolded masterfully. You know something is wrong. You know something is up. But you can't quite figure out what it is.

And secondly this was the work of a first time director. It's rare that you get a movie written and directed by the same person on their first attempt and they manage to hit it out of the park.

And lastly, it gave us something new. This is possibly the best aspect because I am sick to death of cookie cutter horror movies. People nowadays have forgotten that horror doesn't just mean blood and guts. Before directors had to create tension and atmosphere by building the plot and unraveling the story slowly. It's refreshing to see this done with such care.

Is it a perfect movie? No it isn't, but it's damn good especially if you're in the mood for a good psychological thriller with horror overtones.

'Get Out' was very highly recommended by a friend, also a fellow film enthusiast, and the subject matter of the film really interested me. Add to that a very promising trailer, the award nominations and wins and mostly positive word of mouth (even with the very vocal detractors), and interest was higher.

High expectations were not only met but also exceeded. Apologies for the cliché, but to me that is the best way to sum up my personal experience watching 'Get Out'. Can totally see why it was as well received as it was, though can also see why it has divided audiences on here. While it will never be one of my favourite films, 'Get Out' is among the better films of 2017 and does live up to the hype.

It's an incredibly well-made film visually, with stylish and unsettling cinematography and editing and some disturbingly surreal imagery that adds to, and enhances, the unease and sense of dread.

That the direction was done by a first-time director is a shock in itself, one of the most outstanding debut directing jobs seen in a long time by me. It's nostalgic in its embracing of contemporary and classic horror and also brave in the accomplished handling of the film's combative themes.

Being somebody who considers music important when talking about it, the music looms suitably ominously and fits well. 'Get Out' benefits from an extremely smart and clever script (though 'The Shape of Water' and especially 'Lady Bird' were worthier wins for the Best Original Screenplay Oscar in my view), that takes on a lot of elements and balances them adeptly and the individual elements handled very effectively.

Despite how it sounds, 'Get Out' struck me as more of a thriller with horror and comedic elements. It is highly successful on this front, with the thriller elements being taut, suspenseful and unsettling, the comedic ones being darkly funny and clever and the horror ones being imaginatively shocking and subtly uneasy. There is even some social commentary and interracial themes explored, and done thoughtfully and just about avoids preachiness while hitting hard still.

While all the performances are very fine, it is Daniel Kaluuya's superb lead performance that burns in the memory the most.

My only complaint of 'Get Out' is the too pat and somewhat silly ending that felt tacked on and like it came out of a different film, to me it too ended on a tonally jarring and that's it note.

Until then, the film was this close to being a masterpiece. So it was frustrating that it just missed out on that distinction. Nonetheless it's a great film that is among the year's better ones, brought down by an underwhelming ending. 9/10 Bethany Cox