Rose serves as The Heavy because, even though her entire family was involved in the plot, she was the most direct threat to Chris (especially since she was the one dating him) and she was the most dangerous near the end of the film since only she carried a gun and used it to hunt Chris.
In the original ending for Get Out, Chris was arrested after strangling Rose, and Rod visited him in jail. Rod asked Chris for information about the Armitages so he could investigate, but Chris refused by explaining that he stopped them, so everything was fine now.
Under her family's orders, like her brother Jeremy, she abducted many African American men and women by forming relationships with and seducing them so Missy, her mother, could hypnotize them and Dean, her father, could transplant the brains of the Order of the Coagula's members to their bodies so they could use them ...
Rose Armitage serves as the perfect twist villain in Get Out, fooling both Chris and the audience with her loving facade. Her true colors expose her as an evil and manipulative person who sees trapping and seducing innocent people as a fun game.
She also asks him where he was when his mother died. Chris feels uncomfortable thinking about it but Missy secretly hypnotizes him by spinning her spoon in her teacup, creating a hypnotic rhythm. Thus, Missy learns how Chris' mother died. Suddenly, Chris, while still under the hypnosis, realizes that he cannot move.
One of the darkest and scariest scenes in Get Out is the one that takes place in the sunken place. This is where Rose's family brings their captives so that their bodies can be overtaken by the cult members. Chris is taken here during hypnosis twice but is luckily able to get out both times.
When Chris grows impatient, Rose reveals her true colours. Far from the supportive and loving woman that Chris initially believed, she is instead a remorseless sociopath who takes pleasure in forming false relationships with her victims before sending them to be hypnotized and go through the brain surgery.
“In my mythology of this, Rose is so sick and twisted that she always leaves the door a little bit open,” Peele says in his director's commentary for the film.
As the film deals with racism, Peele has stated that the story is "very personal", although he noted that "it quickly veers off from anything autobiographical." Peele was introduced to producer Sean McKittrick by comedy partner Keegan-Michael Key in 2013. "I was shooting a movie with Keegan-Michael Key.
Rose grabs Chris's face, she's sorry, she loves him. He nods, but starts to choke her. She pleads for him to stop, but her fear dissolves until she's smiling smugly up at him, implying she always knew he's just like her and her family.
This order is behind the movie's biggest plot twist: Chris was lured into the lair of a secretive cult that will force him to undergo a procedure to transfer a white person's mind into his young, healthy body as they did with other innocent black men in the past.
The song is called Sikiliza, and it is both unnerving and also one of the hidden messages in Get Out. The Swahili lyrics contain a warning for Chris — "Brother, listen to the ancestors - run!" The song sets the tone for the film and for the terrifying journey that Chris is about to embark on.
During this scene, it is revealed that Chris' mother was killed in a hit-and-run when he was younger which he blames himself for as he did not call for help quick enough. As such, the deer earlier in the film represents Chris' mother which explains why the event traumatizes Chris much more deeply than it does Rose.
Police sirens arrive, briefly scaring the audience as Rose starts crying for help with Chris in a compromising and guilty position. Luckily, the driver of the police car is revealed to be Chris' friend Rod (Lil Rel Howery), who has come to rescue him.
Earlier, Missy—a therapist—had offered to hypnotize Chris to cure him of his nicotine cravings. It's clear, both to Chris and to the viewer, that a trap is being sprung.
In the first test, Cameron disproves the fan theory that there was simply enough room on the raft for both Jack and Rose to survive. While there is enough room for “Jack and Rose to get on the raft, they're now both submerged in dangerous levels of freezing water,” Cameron observed.
In an interview with Vanity Fair, Cameron was asked directly, "Why doesn't Rose make room for Jack on the door?" To which he replied, "And the answer is very simple because it says on page 147 [of the script] that Jack dies.
In the original ending of the film, Chris was originally suppose to be arrested by police for murdering Rose and her family but director Jordan Peele decided that it would be better for Chris to have a happier ending.
Get Out is considered one of the best horror movies of the 2010s for expertly blending elements of horror and satire, but the film would not have worked to perfection had it not been for its twist villain, Rose Armitage.
Get Out captivated audiences with its exploration of racial prejudice in America, highlighting the struggle for equality in what is perceived as a "post-racial" society.
In Get Out, the coagula procedure renders the African American victim powerless. They are forced into a metaphorical version of slavery where white people steal their bodies and use them for their own purposes. Notably, this opening scene unfolds, until the very end, with a long tracking shot that exceeds two minutes.
When the flash goes off in Logan's face his demeanor changes. Physical symptoms manifest which include a nose bleed, fear in his eyes and lunging at Chris saying "Get out". Initially, this perception of this is interpreted as aggression, but later he learns that Logan was actually warning him.
Chris then wakes up tied to a chair facing a TV, and, in a chilling twist, the diabolical plan of the Armitages is finally revealed. They have been abducting and hypnotizing African-Americans to implant the consciousness of wealthy white individuals into their bodies in a procedure titled The Coagula.
Get Out and Us are both petrifying movies with a creepy atmosphere, palpable tension, and a fair share of jump scares. But, pound for pound, Us is arguably the scarier movie of the two.
