"Look, look Chris, tell me this okay? How can I get in trouble for patting down an old lady? It's standard procedure. Gary just thinks that if an elderly bitch is fucking elderly, she can't hijack no motherfucking plane. [Chris laughs] See, wait, wait, now, I know you're fucking laughing. I'm serious, come on man. The next 9/11 is going to be on some geriatric shit."

"Believe me, the irony of being a blind art dealer isn't lost on me."

"Please don't lump me in with that [the fetishization of blackness]. You know, I could give a shit what color you are. No, what I want is deeper. I want your eye, man. I want those things you see through."

"[To Chris] You were one of my favorites."

"Andre Logan King: Get out."

"Commercial announcer: A mind is a terrible thing to waste."

"Parker Dray: Fair skin has been in favor for, what, the past hundreds of years. But, now the pendulum has swung back. Black is in fashion!"

"Just because you're invited, doesn't mean you're welcome."

"Do you belong in this neighborhood?"

"A brilliantly crafted thriller!"

"Gripping, scary, witty and timely!"

"The villains here aren't southern rednecks or neo-Nazi skinheads, or the so-called "alt-right". They're middle-class white liberals. The kind of people who read this website. The kind of people who shop at Trader Joe's, donate to the ACLU and would have voted for Obama a third time if they could. Good people. Nice people. Your parents, probably. The thing Get Out does so well – and the thing that will rankle with some viewers – is to show how, however unintentionally, these same people can make life so hard and uncomfortable for black people. It exposes a liberal ignorance and hubris that has been allowed to fester. It's an attitude, an arrogance which in the film leads to a horrific final solution, but in reality leads to a complacency that is just as dangerous."

"[about the housekeeper] This bitch is crazy. Bitch is crazy."

"Get Out is an attenuated comedy sketch in which serious concerns are debased. Pushing buttons that alarm blacks yet charm white liberals, Peele manipulates the Trayvon Martin myth the same way Obama himself did when he pandered by saying, “Trayvon Martin could have been my son.” That disingenuous tease is extended in Peele’s casting of Daniel Kaluuya. Son of Ugandan parents, the handsome, round-faced, British-born actor triggers sympathy (he has the young, clean-cut buppie co-ed look that brothers Branford and Wynton Marsalis rocked in the ’80s)."

"In Get Out, just as Obama did, Peele exploits racial discomfort, irresponsibly playing racial grief and racist relief off against each other, subjecting imagination and identification to political sway. Get Out’s routines — Chris identifying with a wounded deer, Chris being introduced to clueless, suspicious, patronizing, dishonest, and rapacious whites — paint a limited, doomed picture of race relations. Like a double-dealing demagogue’s speech, there’s just enough pity to satisfy black grievance and just enough platitudes (Rose back-talking a white cop) to make whites feel superior. When an Asian party guest asks Chris “Is African-American experience an advantage or disadvantage?” it reveals Peele’s own biracial anxiety."

"Daniel Kaluuya - Chris Washington"

"Allison Williams - Rose Armitage"

"Bradley Whitford - Dean Armitage"

"Catherine Keener - Missy Armitage"

"Caleb Landry Jones - Jeremy Armitage"

"Lil Rel Howery - Rod Williams"

"Betty Gabriel - Georgina"

"Marcus Henderson - Walter"

"LaKeith Stanfield - Andre Hayworth / Logan King"

"What was it, exactly, that the all-media screening audience at the new movie Get Out was cheering for when the black protagonist killed an entire family of white folks one by one? Get Out isn’t simply a revenge thriller; it’s a state-of-the-divided-nation movie. In this horror-comedy, 26-year-old middle-class black photographer Chris Washington (Daniel Kaluuya) travels with his white girlfriend Rose (Allison Williams) to her family’s idyllic exurban home and discovers a racist cult intent on siphoning black men’s mental and physical energy. Guess Who’s Coming to Dinner meets Rosemary’s Baby meets Meet the Fockers. Hollywood high-concept goes low — and unfulfilled."

"All I know is sometimes, when there's too many white people, I get nervous, you know?"

"[about Rose and Chris hitting a deer on the way] You know what I say? I say one down, a couple hundred thousand to go. I don't mean to get on my high horse, but I'm telling you I do not like the fucking deer, I'm sick of it, they're taking over, they're like rats, they're destroying the ecosystem. I see a dead deer on the side of the road and I think to myself 'That's a fucking start.'"