I was looking forward to “Get Out,” the critically acclaimed horror film that has been described as “Guess Who’s Coming To Dinner?” crossed with “Rosemary’s Baby.” It has been called “brilliant.” I just watched it on a large flat-screen TV in an Erie, PA. Marriott.
It is not brilliant, except in that it appeals to progressive-biased critics who love its anti-white propaganda. Granted, it is that rare beast, a political horror movie, the genre best represented by the original “Invasion of the Body-Snatchers,” Don Seigel’s paranoid metaphor about the Red Scare. “Get Out,” however has no surprises worthy of the shock genre. Its basic plot, an innocent, trusting victim finds himself the object of a sick and widespread conspiracy aimed at controlling his mind and taking away his autonomy, is familiar to anyone who has seen “The Stepford Wives,” “The Tommyknockers,” “Rosemary’s Baby,” and too many lesser efforts to mention.
I see a lot of horror movies, good, bad, brilliant and terrible, slasher films, gorefests, zombie and vampire movies, paranormal, discovered footage and scifi/horror hybrids, from the best/worst of Ed Wood, to the genuine masterpieces and soon to be classics. They are an acquired taste, and most critics give all horror movies bad reviews, because they don’t respect the genre and look down on it and the artists that create them. Why did they fall all over themselves praising “Get Out”, particularly since it was not especially original in its horror elements? Easy. It is an anti-white movie.
It is a movie that takes place in a world that lives in the hateful fantasies of Al Sharpton, Maxine Waters, Michelle Obama and Black Lives Matters. Every single white character in the film, and there are over twenty of them, are condescending, rude, clueless bigots, unaware of their microaggressions (which are really macoaggressions) toward African Americans. Every black character, in contrast, is benign, wise, perceptive and fair, or a helpless victim. The guileless young black hero is betrayed at every turn by every white individual he trusts, even the one he loves. Because, you see, that’s what whites are like, that’s how they secretly and not so secretly feel about African Americans, and this is what black Americans need to understand.
After the full, evil, life-threatening plot becomes clear to our hero, he systematically kills (brutally) every member of the diabolical white family responsible. This is the part of the movie where Black Lives Matters members are supposed to be taking notes, or perhaps cheering.
Needless to say, and I hate to say it because it has become a hackneyed observation, but a movie with the races reversed would have been instantly condemned as anti-black paranoia and hate. After 8 years of Barack Obama and Eric Holder, however, anti-white paranoia and hate is not merely acceptable, but perceptive and brilliant.
The natural defense against my analysis would be, “Oh, come on. It’s just a movie.” Critics and commentators did not conclude it was just a move, however. Here’s The Economist:
“Get Out” is a comment on the American post-racial fantasy represented by the presidency of Mr Obama: a fantasy thwarted by the killings of Eric Garner, Trayvon Martin and Michael Brown, as well as the election of Donald Trump. The film refuses to provide any final comfort for white liberals; it does not compartmentalise black oppression in the past or in the modern inner-city. It forces them to look inward, to the state of racial tension today.
This is hilarious, if you’ve seen the movie. The rich white family and their friends and conspirators are as grotesque stereotypes and caricatures of pompous white bigots as Steppin Fetchit was an offensive insult to blacks in the 1940s. They are as relevant to real Americans as the creepy homicidal townspeople in “Hot Fuzz” are representative of real Brits.
Here is the Root, which naturally believes this slur on whites is spot on, in a disturbing essay called Get Out Proves That ‘Nice Racism’ and White Liberalism Are Never to Be Trusted.
That’s right, The Root believes that a movie in which rich white doctors hypnotize unsuspecting blacks and transfer control of their bodies to their white friends and relatives using hypnotism and brain surgery proves something. It proves, I guess, that a lot of bitter and angry blacks and white-hating progressives will find support for their divisive and vile world view wherever they can. Sayeth The Root,
“Get Out also underscores the distrust that black people feel for white women—the same white women who voted for Trump (53 percent), and the same white women whom Angela Peoples warned us about in her viral “Don’t Forget: White Women Voted for Trump” photo at the Women’s March on Washington in January.
But the movie doesn’t just enable black people to see conservatives for who they are and who we’ve always known them to be. Rather, it provides a means to evaluate the demons contained in the nice racism of those who believe that they do good (and who make it a point to distance themselves from what is perceived as bad): white progressives and liberals.”
Again, anyone who has seen the movie will diagnose this analysis as bigoted confirmation bias. There is no “nice racism” shown in the film. Every white character save one treats the black hero like a freak or an oddity, making inappropriate statements about “his kind’s” sexual prowess, or striking up conversations about black athletes, or similar gaffes that model the most awkward reactions of isolated whites at a race-restricted country club in the 1950s. What’s nice about it? Meanwhile, the Root tells us that the movie shows conservatives as they really are: evil plotters who use their skills and money to turn black bodies into their unwilling slaves. The film has illuminated the truth about racism in the US, all right, but not the racism that the critics seem to see.
It is well described by Vox’s race-poisoned Aja Romano, who writes,
“Get Out ingeniously uses common horror tropes to reveal truths about how pernicious racism is in the world. It doesn’t walk back any of its condemnations by inserting a “white savior” or making overtures to pacifism and tolerance. No: In this film, white society is a conscious purveyor of evil, and Chris must remain alert to its benevolent racism. He has to in order to survive.”
Trust me on this, as someone who has wasted too much of his life watching horror movies: the only thing ingenious about the film was making the protagonist black and all of the evil people white so reviewers would rave about it. If the movie was cast with a racially mixed cast, nobody would have noticed it, and savvy reviewers would have slammed it as sadly derivative. Ah, but blatantly declaring whites evil—note that Vox’s writer essentially agrees with this diagnosis—is bold, it’s new, it’s a revelation!
It’s racism. The film is deliberately divisive, encourages racial violence, and it is as insulting to whites as a minstrel show is to blacks, asserting a foul and demeaning stereotypes for political advantage.