"Conceived", as J. Hoberman tells us in the New York Review "in the waning days of Barack Obama's presidency and premiered at the Sundance Film Festival, four days after Donald Trump assumed power, the comedian Jordan Peele's semi-parodic horror film Get Out has a complexity worthy of its historical moment."
Some movies are eminently and deservedly forgettable. "Get Out" is not.
It stays stubbornly in our minds, demanding that we keep asking the question "what was that all about?" The plot is subtle and implied, meaning that for most movie-goers it may well be as we mentally re-wind in the light of the completed action that understanding comes. And it builds. Slowly and inexorably. It builds.
Even as our frustration festers as we try to make sense of it all, we are always engaged. The sense of menace grows as it becomes increasingly obvious that just about nothing is what it seems and that what is on face value. An affluent enlightened and tolerant community hides layer upon layer of deception and threat. There were moments where the movie goers in unison gasped in shock or laughed out loud.