Bold, clever, and frightening, Get Out is a statement movie and statement of a movie from writer and director Jordan Peele, who takes viewers for an unforgettable ride in a horror movie that delves into the horrors of racism.

For those who have watched the sketch comedy series Key & Peele, there is an underlining darkness to its comedy that separates it from its contemporaries. Whether commentating of serious issues or riffing on pop culture events & figures, Key & Peele had no qualms “going there” when the need demanded it.

That spirit and inventiveness in approaching the taboo is felt all throughout Get Out, the feature film directorial debut from Jordan Peele, who effectively and rather brilliantly uses the horror genre to deliver an entertaining and illuminating commentary on race relations in America. That it also pulled off the feat of grossing over $170 million at the American box-office from a budget of $5 million, says quite a lot about the appetite for a film such as Get Out during a time of racial unease in the States.

The film stars burgeoning British actor Daniel Kaluuya as Chris Washington, a young black man and photographer who is in a relationship with young white woman Rose Armitage (Allison Williams).  When Rose asks Chris to visit and stay at her liberal upper class parents (Catherine Keener and Bradley Whitford) secluded estate over the weekend, Chris reluctantly agrees over fear that they might be uncomfortable with the colour of his skin. Yet Chris soon realises that other sinister plans are afoot as he uncovers a horrific conspiracy.

Peele’s presents that conspiracy with a freshness and zeal, approaching a heavy topic issue with seriousness, yet never lets it overweigh the entertaining, engrossing nature of his story. It’s a difficult balancing act to be sure, yet one which Peele masters as both provocateur and genre filmmaker. The great horror films are those make you jump out of your seat and then haunt you afterwards about the intelligence in which it went about doing so. It’s a combination of smarts, emotion and the highest of stakes that Get Out has in spades.

Strong too is the films iconography. In one brilliantly sequenced scene, Chris is placed under hypnosis by Anne’s psychiatrist mother Missy (Keener, subtly chilling). As to why will give too much away. But the reaction from Chris, a mixture of horror amid the paralysis, as tears stream down his face from eyes wide and painfully open, is a moment worthy of joining the rich pantheon of iconic horror scenes. It also speaks volumes about Kaluuya’s performance, hitting those right reactions ranging from ‘WTF?!’ confusion, to downright fear.

Peele has spoken highly for his love for genre movies, especially horror. His addition to the genre is thankfully not a retread. It doesn’t belong to the many horror sub-genres. It is a film of its own identity and its own power. Get Out just may also prove to be one of the best films of 2017.