Get Out currently dominates The Witch 82–18
Get Out’s cultural vocabulary buries The Witch’s period dread.
The Verdict
This matchup has 17 votes. The picture may shift as more people weigh in.
Get Out is dominating a film critics adore, and the margin reveals something about how horror competes in a popular vote. The Witch is formally extraordinary — Eggers’s period accuracy, the mounting supernatural ambiguity, the family’s collapse under the weight of belief. But it asks its audience to meet it in the seventeenth century and stay there. Peele’s film meets its audience where they already live: the dinner party, the police stop, the smile that means something other than welcome. Every voter has encountered the thing Get Out is about. Not every voter has sat in a Puritan clearing and felt the woods watching. Shared recognition at this scale produces margins this wide.
The Numbers
| The Witch | Get Out | |
|---|---|---|
| Head-to-Head | 18% | 82% |
| Overall Win Rate | 55% | 58% |
| Championships | 28 | 54 |
| Budget | $4M | $5M |
| Box Office | $40M | $255M |
Where This Matchup Sits
BingeBracket tracks 53 films from the 2010s — The Witch is in the upper half, Get Out is in the top quarter.
When facing other films, both run into the same wall: Hereditary beats them both on BingeBracket, regardless of how they perform against each other.
Get Out with 54 titles and The Witch with 28 — the tournament record and the head-to-head point the same direction.
Get Out earned $255M at the box office while The Witch made $40M. The bracket agrees — Get Out wins the head-to-head, and the commercial gap holds.
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