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. Continue reading