---
title: "Get Out"
year: 2017
kind: "film"
canonical: "https://film.one/film/get-out"
fi1m_id: "get-out"
imdb_id: "tt5052448"
tmdb_id: 419430
wikidata_id: "Q25136235"
fi1m_score: 89
critics_score: 85
critics_reviews: 18
published: "2026-09-16"
updated: "2026-09-18T08:37:41.205033+00:00"
region: "US"
licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL."
---

# Get Out (2017)

Directed by Jordan Peele · 1h 44m · MPA R · Mystery, Thriller, Horror

## Identity

Get Out

- **Canonical:** https://film.one/film/get-out
- **Type:** Film
- **Fi1m ID:** get-out
- **IMDb ID:** tt5052448
- **TMDB ID:** 419430
- **Wikidata ID:** Q25136235
- **Same entity:** https://www.imdb.com/title/tt5052448/, https://www.themoviedb.org/movie/419430, https://www.wikidata.org/wiki/Q25136235

**Fi1m score: 89** · Critics 85 from 18 reviews

*In a sentence:* A horror film in which being a difficult guest starts to seem like basic self-preservation

> Jordan Peele makes racial discomfort frightening without losing the jokes, and Daniel Kaluuya gives every awkward encounter weight. A few supporting performances are too broad, but this is a horror film we recommend well beyond its usual audience.

## Synopsis

Chris Washington (Daniel Kaluuya) accepts an invitation into an affluent corner of America where the welcome is polite and race is never far from the conversation. Rose Armitage (Allison Williams), Dean Armitage (Bradley Whitford) and Missy Armitage (Catherine Keener) are part of a visit Chris struggles to make sense of. A nighttime stroll unsettles him, adding to his uncertainty about the people around him. He tries to distinguish social awkwardness from danger, while the people around him give him reasons to distrust their apparent goodwill.

## Review

*Get Out* is funny, frightening and unusually precise about the ways people make a guest feel unwelcome while insisting otherwise. Jordan Peele writes and directs with a clear understanding of how exhausting it can be to remain polite. The film’s white liberals take their own decency for granted, which makes their interest in black people peculiarly intrusive. We recommend it for the discomfort as much as the shocks.

Daniel Kaluuya is the reason that discomfort stays personal. As Chris Washington, he makes the work of getting through an awkward encounter seem exhausting; we keep looking to him to decide how seriously to take the people around him. The satire depends on that judgement, because a performance that announced every insult would do our thinking for us. Kaluuya gives us room to recognise the offence and to understand why challenging it might be difficult, particularly when everybody seems so pleased with their own behaviour.

Bradley Whitford makes Dean Armitage’s eagerness to seem decent funny enough to be embarrassing. We recognise the demand for approval, and the unreasonable amount of attention it requires from the person receiving it. Caleb Landry Jones, as Jeremy Armitage, is less persuasive: the performance signals menace so strongly that there is little left for us to work out. A few of these encounters would be more uncomfortable if the supporting cast were allowed the same uncertainty that Kaluuya brings to Chris.

Toby Oliver and Denson Baker’s cinematography makes the nighttime stroll feel exposed, with too much uncertainty about what might interrupt it. The restraint works because we spend time looking for trouble rather than being shown exactly where it is. Rusty Smith’s production design makes the affluent surroundings feel established and secure, which is distinctly unhelpful to Chris. The place seems to have its own rules, and nobody appears particularly interested in his comfort with them.

Catherine Keener, as Missy Armitage, is particularly effective at making composure seem threatening without pushing the performance towards caricature. We were unnerved by her calm, because it gives Chris so little to respond to openly. Keener makes the effort to read another person’s face feel dangerous, and Kaluuya keeps that uncertainty visible without overplaying it.

Gregory Plotkin’s editing keeps the unease alive through the changes of tone, allowing the comedy enough room without letting it wipe away the threat. Michael Abels’s score makes that threat feel close even when the immediate occasion is still an awkward encounter. Neither humour nor music releases us from paying attention to Chris, which is why the film can change direction without seeming to start again. At 104 minutes, it establishes its social discomfort without making us endure every possible variation of it.

Horror often asks us to notice danger before its characters do. Here, Chris is already uneasy, and the harder question is what he can do with that knowledge while everyone expects him to behave. Peele understands how much pressure an apparently friendly welcome can exert, and how difficult it can be to explain why something feels wrong. Watch it for Kaluuya, and resist the temptation to learn much more about the invitation.

*Fi1m score 89, published 16 September 2026.*

## What the critics say

The reviews are strongly positive, with praise centred on Jordan Peele’s control of horror, comedy and racial satire. Most critics find that the film exposes white liberal racism through everyday discomforts while still delivering tension and shocks; the social commentary gives the horror its force. Daniel Kaluuya’s performance draws particular praise for making those anxieties felt, while the ensemble and Peele’s handling of small, unsettling details also earn repeated approval.

The differences are chiefly in the degree of enthusiasm, with reservations concerning how well the plotting sustains the promise of the build-up. The Los Angeles Times notes weaknesses in the ending, while /Film admires the wit and visceral impact but finds that the premise holds up less well under scrutiny afterwards. These are qualifications within favourable assessments: the broad consensus is that the film’s humour, unease and attention to racial behaviour work together unusually well.

## Straight answers

**Is Get Out worth watching?**

*Get Out* is worth watching for almost anyone who can bear a horror film, and we scored it 89. Jordan Peele makes racial discomfort frightening without dropping the jokes, and Daniel Kaluuya gives every awkward encounter real weight. A few supporting performances are too broad, but that is a small complaint against a film we recommend well beyond horror's usual audience.

**How long is Get Out, and what is it rated?**

*Get Out* runs 1h 44m and is rated R by the MPA in the US. It is a mystery and thriller film.

**Where can I watch Get Out in the US?**

*Get Out* is streaming on Peacock, Disney+, Amazon Prime Video and The Roku Channel in the US, and it is also available to rent from Apple TV and Amazon Prime Video from $3.99. Availability is checked daily; the links above go straight to each service.

**How violent or frightening is Get Out, and is it suitable for children?**

*Get Out* is a 15 in the UK and rated R in America, so it is not for children. Much of its fear comes from social unease rather than gore: polite hosts, a nighttime stroll that feels exposed, and a calm that gives Chris nothing to push against. The certificate does imply adult content and violence, so the squeamish should expect shocks alongside the discomfort.

### Reviews we read (23)

- **Radio Times**, Trevor Johnston (5/5): The film is altogether remarkable as a socially aware horror mystery that provocatively addresses racial tensions with classic storytelling, subtle unease and imaginative shocks from a definite African-American perspective. [Read](https://www.radiotimes.com/movie-guide/b-oontp2/get-out/)
- **RogerEbert.com**, Matt Zoller Seitz (4/4): The critic praises the film as a sharp, funny and scary horror-satire that uses genre conventions to expose liberal racism and the commodification of black bodies. Peele's direction and the performances, especially Daniel Kaluuya's, are singled out for making the social commentary land with visceral force. [Read](https://www.rogerebert.com/reviews/get-out-2017)
- **The New Yorker**, Brandon Harris (90/100, inferred): The critic lauds it as a major achievement in black cinema, commending its exploration of racial anxieties, miscegenation fears, and liberal racism through a horror lens, comparing it favorably to Moonlight. [Read](https://www.newyorker.com/culture/culture-desk/review-the-giant-leap-forward-of-jordan-peeles-get-out)
- **Empire**, Olly Richards (85/100, inferred): Peele's directing debut is a highly effective horror movie and satire on middle-class liberal racism that makes audiences uncomfortable while remaining very funny and entertaining throughout. [Read](https://www.empireonline.com/movies/reviews/get-2-review/)
- **Film Comment**, Ina Diane Archer (85/100, inferred): Peele balances comedy and menace in a horror film that mines genre conventions to address race and racism, with nuanced performances especially from Kaluuya. It links universal horror concerns to specific issues of blackness and microaggressions. [Read](https://www.filmcomment.com/review-get-out/)
- **The Guardian**, Peter Bradshaw (85/100, inferred): Peele's directorial debut is a chilling satire of liberal racism in America that starts as a modern Guess Who's Coming to Dinner before turning into a social thriller with horror elements. The critic praises the sharp writing, strong ensemble cast, and the way it hints at horrors beneath a genteel facade while delivering cathartic spectacle. [Read](https://www.theguardian.com/film/2017/mar/19/get-out-review-jordan-peele-racism-america)
- **Variety**, Peter Debruge (85/100, inferred): The review highlights the film's blend of horror and social satire, praising its fearless critique of race relations and white liberal attitudes, with strong performances and effective thrills; it is a must-see event from Sundance. [Read](https://variety.com/2017/film/reviews/get-out-review-jordan-peele-1201968635/)
- **Evening Standard**, Charlotte O'Sullivan (80/100, inferred): Kaluuya delivers a perfect performance as the lead; Peele creates a lovely off-kilter mood with visual poise, riffing on classics while proving horror suits young filmmakers. [Read](https://www.standard.co.uk/culture/film/get-out-film-review-no-escape-from-nightmarish-parent-trap-a3680331.html)
- **Little White Lies**, Anton Bitel (4/4/4): Jordan Peele’s thoroughly modern horror examines racism in America with a sharp, darkly funny eye. It merges horror tropes with social commentary to expose truths about race relations, resulting in something tense, uneasy and darkly funny. [Read](https://lwlies.com/reviews/get-out)
- **Los Angeles Times**, Justin Chang (80/100, inferred): The critic praises Peele's directorial debut for its clever subversion of horror tropes and sharp critique of racial microaggressions and liberal hypocrisy, singling out the opening scene and the party sequence for their effectiveness while noting some weaknesses in the ending. [Read](https://www.latimes.com/entertainment/movies/la-et-mn-get-out-review-20170223-story.html)
- **The i Paper**, Matthew Turner (★★★★): A scathing, timely satire on white liberal attitudes toward race that expertly builds tension with jet-black comedy and edge-of-your-seat horror, boasting strong performances and accomplished direction. [Read](https://inews.co.uk/culture/film/get-out-review-53309)
- **Screen Daily**: Retro horror and racial tension mix to surprisingly entertaining effect in Jordan Peele’s feature directing debut. The build-up is quietly creepy with the feel of vintage thrillers, and the social comment is delivered with a light hand while the action has vigour and a crowd-pleasing outcome. [Read](https://www.screendaily.com/reviews/get-out-review/5115376.article)
- **Sight and Sound**, Trevor Johnston: Jordan Peele’s debut is a brilliantly inventive horror that skewers the insecurities and injustices of modern America. It uses surrealism to plunge into white insecurities about black sexuality and the toxicity of slavery, with a smart and effective first hour full of unsettling everyday details. [Read](https://www.bfi.org.uk/sight-and-sound/reviews/get-out-review-surreal-satire-racial-tension)
- **The Hollywood Reporter**, John DeFore: The critic calls it one of the most satisfying thrillers in years and a strong directorial debut for Peele. They single out the film's sharp eye for memorable details and its timely take on racial fears. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/get-review-967922/)
- **Vulture**: The review hails it as the satirical horror movie we've been waiting for, a mash-up of classic films that is more fun and illuminating. It singles out Peele's assured direction, use of horror tropes, and performances that heighten the social satire without camp. [Read](https://www.vulture.com/2017/02/movie-review-jordan-peele-get-out.html)
- **Collider**, Matt Goldberg (A-): The critic praises Peele's directorial debut as a clever, witty, and disturbing horror film that delivers a sharp critique of racial dynamics and white liberalism through its twisted premise. [Read](https://collider.com/get-out-review/)
- **The Playlist**, Kimber Myers (A-): The critic calls it a brilliantly executed horror/satire with masterful tension and humor, praising Peele's perfect tone in handling heavy themes of race. [Read](https://theplaylist.net/jordan-peeles-get-out-brilliantly-executed-horror-satire-20170222/)
- **The Ringer**, Allison P. Davis (85/100, inferred): The critic emphasizes the film's terrifying reveal of seemingly benevolent white characters, particularly Rose, as the embodiment of subtle, insidious racism that justifies paranoia. [Read](https://www.theringer.com/2017/02/27/movies/get-out-and-the-villain-next-door-ffbbd4c84058)
- **The Wrap**, Alonso Duralde (85/100, inferred): Jordan Peele’s directorial debut is an impressive horror film that nails the vibe of hidden terrors in affluent settings while mining humor from racial discomfort. The critic singles out Peele’s skillful storytelling and potent satire on race in 2017 America, along with strong performances from Catherine Keener and Lil Rel Howery. [Read](https://www.thewrap.com/get-out-review-jordan-peele-allison-williams/)
- **Den of Geek**, Ed Williamson (4/5): Peele's debut is an unpredictable horror-satire that targets white liberal fetishisation of blackness through good manners masking dread. It provokes as a thinkpiece while remaining tense and original as a genre film. [Read](https://www.denofgeek.com/movies/get-out-review-2/)
- **NME**, Olly Richards (4/5): The film upends horror clichés with a smart portrait of race relations and targets self-proclaimed liberals who fetishise blackness. Peele keeps viewers uneasy with surreal details and bizarre turns that feel carefully earned. [Read](https://www.nme.com/reviews/get-out-film-review-2018268)
- **/Film**, Peter Sciretta (7/10): The critic finds Jordan Peele's directorial debut a clever and funny thriller that mixes Meet the Parents with The Stepford Wives. He praises its smart, visceral take on elitist racism and modern slavery but notes the premise does not hold up well under post-analysis scrutiny. [Read](https://www.slashfilm.com/548889/get-out-review/)
- **Paste**, Andy Crump (8.7): The critic calls it a polished, well-made debut that is smart, funny, and scary, with rich thematic depth on racism and impressive craft in its tension-building and performances. [Read](https://www.pastemagazine.com/movies/jordan-peele/get-out-review)

## Details

- **Director:** Jordan Peele
- **Director:** Jordan Peele
- **Writer:** Jordan Peele
- **Cinematography:** Toby Oliver, Denson Baker
- **Editor:** Gregory Plotkin
- **Music:** Michael Abels
- **Production design:** Rusty Smith
- **Costume design:** Nadine Haders
- **Producer:** Jason Blum, Edward H. Hamm Jr., Sean McKittrick
- **Cast:** Daniel Kaluuya as Chris Washington; Allison Williams as Rose Armitage; Catherine Keener as Missy Armitage; Bradley Whitford as Dean Armitage; Caleb Landry Jones as Jeremy Armitage; Marcus Henderson as Walter; Betty Gabriel as Georgina; LaKeith Stanfield as Andre Logan King
- **Runtime:** 1h 44m
- **Certificate (MPA):** R
- **Release (the US):** 24 February 2017
- **Genres:** Mystery, Thriller, Horror
- **Also in:** [Best Picture winners](https://film.one/collections/oscar-best-picture.md) (Nominee, 2017); [Golden Globe Best Musical or Comedy winners](https://film.one/collections/golden-globe-comedy.md) (Nominee, 2017)
- **Budget:** $4 million
- **Box office:** $255 million
- **Trailer:** https://www.youtube.com/watch?v=gsB70ZRY-hI

## Where to watch in the US

- Peacock: streaming, uhd
- Disney+: streaming, hd
- Amazon Prime Video: add-on, uhd
- The Roku Channel: add-on, hd
- Apple TV: rent $3.99, hd
- Amazon Prime Video: rent $3.99, uhd
- Amazon Prime Video: buy $4.99, uhd
- Apple TV: buy $12.99, hd

*Checked 2026-09-16.*

Also available in: AE, AR, AT, AU, BE, BG, BR, CA, CH, CL, CO, CZ, DE, DK, EC, EE, ES, FI, FR, GB, GR, HK, HR, HU, ID, IE, IL, IN, IS, IT, JP, KR, LT, MX, MY, NL, NO, NZ, PA, PE, PH, PL, PT, RO, RS, SE, SG, SI, SK, TH, TR, UA, US, VN, ZA. Add `?region=XX` to this URL for another country.

## Awards

- Academy Awards 2018: Best Actor (nominated); Best Director (nominated); Best Picture (nominated); Best Writing, Original Screenplay (won)
- Producers Guild Stanley Kramer Award 2018: Producers Guild Stanley Kramer Award (won)

## If you liked this

- *The Stepford Wives* (1975): Another immaculate welcome that makes politeness feel like a dangerous obligation.
- *La Cérémonie* (1995): Domestic unease and class hostility, with little interest in comforting anyone.
- *The Host* (2006): Family comedy and social anger share space with a rather substantial monster.
- *The Invitation* (2015): A dinner party where staying courteous becomes an increasingly questionable decision.
- *His House* (2020), Fi1m 79: A haunted home makes racial exclusion frighteningly concrete, with grief close behind. — [Fi1m page](https://film.one/film/his-house.md)

---
© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/get-out