As a mixed-race writer-director, Jordan Peele (aka “nice” Obama on “Key and Peele”) is gifted with a unique vantage point when it comes to critiquing race relations in America. He’s seen it from both sides, white and black. And it’s because of this that his eviscerating — I mean that literally and figuratively — new horror/satire, “Get Out,” is so unnerving.

Casting political correctness to the wind, he gets right to the point of why we all can’t get along. And that my friend is the fact that white people fear black people and black people fear white people. So, why not use that as a basis for a “Rosemary’s Baby”-type thriller involving guns, knives and Froot Loops? Oh, yes, and the TSA. No, they’re not just for patting down elderly ladies anymore.

It adds up to a glorious combination of yucks and yuck, set in the whitest of white neighborhoods, where smart and beautiful, Rose (effervescent Allison Williams) has brought her new black boyfriend, Chris (“Sicario’s” Daniel Kaluuya), home to meet her neurosurgeon father, Dean Armitage (Bradley Whitford), and psychiatrist mother, Missy (Catherine Keener).

“Did you tell your parents I was black?” Chris nervously asks Rose before they hop into the car for a journey into the hell that’s best described as privileged-white liberalism. She assures him he has nothing to worry about. “No worries?” That’s Hollywood code for all hell is about to break loose. And it does. But not in a slasher-movie sort of way; Peele is more interested in a slow bleed that tortures his audience with dread and fear for the worst.

No fair saying anything more about the plot. Just know that by putting a fresh spin on tried-and-true horror tropes, Peele throws the Christians to the lions with gleeful menace, taking on everything from riffing on slavery through the Armitages’ Stepford Wife maid, Georgina (Betty Gabriel), and strapping gardener, Walter (Marcus Henderson), to perfectly capturing the subtle racism in Dean’s making sure to let Chris know that he would have voted for Obama if the president could have run for a third term.

This and other clueless remarks meant — ironically — to make Chris feel “more comfortable” effectively make you cringe. But they also make you wonder how often you yourself have said similar self-serving things that merely prove that you’re trying to prove to yourself you’re not racist.

That part of the movie is aimed at white America. But black America is also in for a little lampooning through Chris’ best friend, Rod (scene-stealing Lil Rel Howery), a black TSA agent who is convinced all white people have it out for blacks. He believes this so wholeheartedly that he’s convinced Chris’ visit will end badly, perhaps even in his homey being sold into sex slavery.

Howery will no doubt be the film’s break-out star, and deservedly so. He’s magnificent. But the entire cast, including Caleb Landry Jones as Rose’s creepy, lacrosse loving brother, is top-notch in its ability to play everything so stoically tongue in cheek. They’re dead serious, and the more intense they are, the funnier they get.

Which makes it all the more disappointing that the film’s final 10 minutes devolve from edge-of-your-seat psychological thrills to cheap horror cliches that are as violent as they are stupid. And it frustrates you, because “Get Out” was so smart and so lethal with its assault on human nature and how it relates to racism. Those parts were frightening and disturbing. The ending is just cheesy. And that’s a shame because it’s a significant let down from a flick that up until that point was one of the most entertaining “message” movies I’ve ever seen. Still, don’t let that stop you from getting out to see “Get Out.” It may fizzle in the end, but for 90 solid minutes it scares the hell out of you, taking all the color out of black and white to remind that inside we all bleed red.

“Get Out”
Cast: Daniel Kaluuya, Allison Williams, Catherine Keener, Bradley Whitford and Caleb Landry Jones.
(R for violence, bloody images, and language including sexual references.)
Grade: B+