James Cerne

Highly enjoyable moviegoing experience grabs you from the start and never lets go through various twists and turns right until the end and never descends into predicablity, routine or cliche. Moss delivers a flawless performance as does the rest of the talented cast.

This movie is An absolutely wild ride. I could go on and on about the things this movie does right: intricate world building, gorgeous camerawork and cinematography, expertly orchestrated and truely shocking shocks (and laughs), an extremely captivated performance by Florence Pugh, and in terms of inventiveness and characterization absolutely miles ahead of most horror movies that document the gruesome fate of a group of attractive youths. My only quibble would be that the portrayal of the group dynamics is too neglected. Asler is clearly most interested in his female lead and supporting characters are dispensed of in ways that feel rushed so that he can focus on her experience. For 6 people trapped in a foreign environment of escalating strangeness, it seems strange to me how little concern they have for each other’s whereabouts and safety and how little interdependence develops between them. 2 characters in particular are given so little to do that disappearance barely registers

ingenious filmmaking that requires a second viewing. Similar to the 6th sense in that second viewing will almost seem like a different movie. Its impossible to really say more without spoiling the experience. Almost every single casual line of dialogue in the opening third sees ironic fulfillment throughout the course of the movie. Lupita Nyong'o plays two entirely different characters in such a brilliant complicated way that she could almost be said to be giving 4 performances at once. If you're hoping for get out 2 that is not what this movie is. Get out functioned like a very well written crime procedural with every clue and confusion tidily explained by the films ending. US plays a lot faster and looser - more along the lines of 2017s Mother, in that symbolism and metaphor propel the narrative more than strict logic. in the end though the subtext- of class anxiety, imposter syndrome and the attrocities we will overlook, and even commit, to achieve a confortable social status and then maintain the facade of a decent genteel existence, is every bit equal to the horrors of Get Out