Movies Like
Movies Like Get Out: Genre With Something to Say
By Jordan A. · · Updated · 5 min read
Get Out (2017) was Jordan Peele's first film, with Daniel Kaluuya, Allison Williams and Bradley Whitford, and its trick was structural rather than shocking. It put a Black man in a house full of white liberals being extremely nice to him and let the audience feel the threat twenty minutes before anything happened. The horror was in the small talk.
So the standard for this list is not "scary film with a Black lead". It is films that use genre machinery to make an argument about race or class that a drama could not make as efficiently. Each entry says what it shares with Get Out, where it diverges, and who should skip it. Where each one streams changes, so the title page on BingeNext shows current US options.
The rest of Peele
Us (2019) is the follow-up, with Lupita Nyong'o playing a mother and her double. It swaps the tight social satire for a bigger, messier allegory about an underclass living directly beneath the comfortable one. Nyong'o's performance is the best thing in either film. It is less precise than Get Out and more ambitious, and the ending divides people permanently.
Nope (2022) has Daniel Kaluuya and Keke Palmer as siblings running a horse ranch that supplies Hollywood. It is about spectacle, who gets eaten by it, and who gets erased from the history of it. The least frightening of the three and the most beautiful. Watch it on the biggest screen you can find.
The satires with teeth
Sorry to Bother You (2018) is Boots Riley's first film, with LaKeith Stanfield as a telemarketer who succeeds by using a white voice. It starts as a workplace comedy and takes a swing in the third act that most people are not ready for. It is angrier than Get Out and much less controlled, which is the point. Skip it if you want a tidy film.
They Cloned Tyrone (2023) is Juel Taylor's, with John Boyega, Teyonah Parris and Jamie Foxx investigating something wrong with their neighborhood. It is a comedy shaped like a 1970s conspiracy thriller, and it makes its point about who experiments on whom without ever slowing down for a speech.
The Stepford Wives (1975) is Bryan Forbes's, and it is the older model Get Out was built on: a suburb where the neighbors are too pleasant, a newcomer who notices, and a horror about assimilation as the price of belonging. The 1975 version, not the 2004 remake. It is slow by modern standards and the last twenty minutes still work.
The straight horror that carries an argument
Candyman (2021) is Nia DaCosta's, written with Peele, a sequel to the 1992 film set in a gentrified Cabrini-Green. It is explicitly about how a neighborhood's violence becomes a story told by the people who replaced it. Shorter and sharper than its reputation, and the shadow-puppet sequences are the best formal idea in any of these.
His House (2020) is Remi Weekes's, with Wunmi Mosaku and Sope Dirisu as a South Sudanese couple placed in British asylum housing that has something in it. The haunting and the bureaucracy do the same job, and the reveal reframes the whole film. Eighty-eight minutes and genuinely frightening.
Master (2022) is Mariama Diallo's, with Regina Hall as the first Black house master at a New England college. It is uneven, and it captures the specific exhaustion of being the institution's proof of progress better than anything else here. Choose it for the atmosphere rather than the plot.
Night of the Living Dead (1968) is George A. Romero's, and Duane Jones is the lead and the most competent person on screen. Romero always said the casting was not a statement, and the ending makes one anyway. It is where the modern horror-as-commentary tradition starts and it is available free in a hundred places because of a copyright error.
Class, not race, same machinery
Parasite (2019) is Bong Joon Ho's and it is the best film on this page. A poor family infiltrates a rich family's household, one job at a time. Like Get Out it treats a beautiful house as a trap, and its argument about who is permitted to be invisible in a home is exactly adjacent.
Barbarian (2022) is Zach Cregger's, and it starts with a double-booked rental in a collapsed Detroit neighborhood. Structurally it does the Get Out thing of switching perspective to make you complicit in a wrong assumption. It is about gender rather than race and it earns the comparison in method.
Blindspotting (2018) is not horror. Carlos Lopez Estrada directed it, Daveed Diggs and Rafael Casal wrote and star, and it covers the last three days of a man's probation in a gentrifying Oakland. It belongs here because the final scene does what Get Out's best moments do: it makes the audience feel the threat from inside rather than watch it.
Where to start
If you want the closest thing to the experience of watching Get Out for the first time, watch His House. If you want the best film, watch Parasite. If you want to see where the whole tradition began, Night of the Living Dead is sixty years old and still not safe.
If you would rather not build the queue by hand, BingeNext's movie recommendations take Get Out plus one more film you love and return picks with a reason and where each one streams. A run takes about a minute.
Topics covered: thriller, horror, social-commentary, suspense, psychological, contemporary
About the author
Jordan A., Founder, BingeNext
Jordan A. is the founder of BingeNext and is responsible for every guide published on this site. He built the recommendation engine after one too many nights lost to the streaming menu. Dates, season counts and where-to-watch details in these guides are checked against official sources before publishing, and corrections are welcome at Jordan@Bingenext.com.