Get Out works because the horror is social before it is supernatural. Chris spends most of the movie trapped in polite conversation, reading hostility in smiles, and Jordan Peele lets that discomfort do the scaring long before the scalpels come out. So this list favors films that weaponize hospitality: wealthy households hiding rot, communities whose warmth is a lure, protagonists slowly realizing the game was rigged before they arrived. Class and race sit at the center of the strongest picks, Parasite and Caché especially. One honest note: this pool leans international and a little older, so you will find more Haneke and Park Chan-wook here than glossy American horror. That is not a weakness. Get Out's sharpest relatives were never at the multiplex anyway.
Loved it? Read more about Get Out (2017), including cast, trivia, and its TML Score.

The obvious companion. Outsiders work their way into a rich household, comedy curdles into horror, and the smiling employers turn out to be the real predators.

Lee Chang-dong's slow-burn paranoia mirrors Chris's: is the charming rich guy hiding something monstrous, or is the resentment all in your own head?

Peele has cited this 1973 folk chiller as an influence. A lone visitor pokes at a smiling island community whose hospitality was always the trap.

A prosperous Paris couple is forced to confront buried colonial guilt. Haneke targets liberal complacency as sharply as Peele does, with dread in every motionless frame.

Another gorgeous estate where a newcomer's arrival sets off layered deception. Park keeps flipping who is predator and who is prey right up to the last scene.

An outsider couple faces neighbors whose rural courtesy hardens into menace, delivered in nods and silences, the way hostility reaches Chris in handshakes and compliments.

Being the plaything of someone's decades-long scheme is Get Out's nightmare pushed to the extreme, and Park's final reveal turns the stomach just as hard.

No conspiracy here, just a beach weekend where politeness stops anyone from naming what went wrong. Farhadi wrings Get Out levels of dread from pure social pressure.

A Black hero besieged in a white farmhouse in 1968, and an ending whose racial gut punch Peele's finale directly answers. The oldest pick here for a reason.

A rich man lures a social inferior into his mansion for games that turn predatory. Think of it as the Armitage garden party staged as a 1972 chamber piece.

A Malayalam classic that locks its horror inside a family mansion while a skeptic argues psychology against ritual. Its blend of comedy and dread sits surprisingly close to Peele.