Jordan Peele is a name most people associate with comedy, satire and the title of the witty show “Key and Peele.” Since then, the duo has split off to do independent projects. You’ve most likely seen Keegan-Michael Key in past projects such as “Why Him” and the underrated “Don’t Think Twice,” in both of which Key was the stand-out.

His impressive range also extended to brief appearances in television shows such as “The Simpsons,” “Archer,” “Modern Family” and “Bob’s Burgers.” But where has Jordan Peele been in the past two years? Behind the camera making the current horror hit “Get Out.”

The film revolves around a man who is invited to meet his white girlfriend’s family without them knowing beforehand that he is Black. The film begins with a tense and awkward conversation like any other meeting between parents and their daughter’s partner.

However, something feels unsettling when the family invites all of their friends (all of whom are white) for a garden party, and the select few Black people are either tending to the party responsibilities or acting blank and unresponsive.

I am personally not a fan of the horror genre, but the premise, as well as Peele’s name on the director’s and writer’s chairs, intrigued me. Deviating from the normal techniques used in horror films, “Get Out” uses tension and unease to build the audience’s fear, rather than jump scares and gore.

The plot, which I will not spoil, in itself is terrifying. While fear is subjective when in the theater, I can confidently say that this is still an enjoyable experience for even the faintest of hearts. Yes, there is some gore and yes, there are a few jump scares, but they are few and far between and worth enduring to experience this captivating plot.

What I found disappointing about the plot, which was otherwise fascinating and well-written, was that it was spoiled by the film’s trailers. Apart from one twist at the end, the mystery was revealed by the film’s first advertisement. You may have thought “Oh, it’s obvious all the Black people are hypnotized,” but that was a big reveal for the audience.

Even so, it worked out in the end, still keeping us at the edge of their seats. The audience was entranced by these visually meticulous scenes; however, it felt like a second viewing after watching any of the film’s ads.

Daniel Kaluuya, who played the main character, did an excellent job. His fear was expertly performed in every tense scene; whether it was when he fought against hypnosis or just regular anxiety during awkward conversation with the predominantly white crowd he was enveloped in.

Bradley Whitford and Catherine Keener were also disturbing standouts in the film, playing his girlfriend’s parents — one a neurosurgeon and the other a psychiatrist.

All that being said, LilRel Howry stole scenes as the comedic relief. While he was stuck at the other end of a cell phone conversation for most of the movie, his light-hearted comedy gave the audience time to breath and laugh amid the horror inflicted upon his best friend.

My only problems with the film were the pacing issues toward the second act and the jarring transition between horror and the aforementioned comedy.

Certain scenes did not have a chance to sink in before moving on to the following comedic segment. I assume Peele, with a successful comedic background, couldn’t help himself writing these scenes. The film was his tour-de-force, clearly in his voice, paralleling the horror and comedy of his film with what he experienced in a “post-racist” society. “Get Out” deserves a solid B+ and is worth a venture to the theater. Go for your faith in Jordan Peele, but stay for the intriguing plot and captivating visuals.