February 22, 2017
It’s common knowledge that when a black man dates a white woman, one of the two is in danger.
I’m talking about the black man, you racist goyim. The suburban white families of these women often hunt down to torture and kill the black men on an industrial scale out of revenge for losing a race in the 1936 Olympics to Jesse Owens. But the white power structure can’t hide this genocide forever, and a new Hollywood horror film has made a positive new contribution towards our national conversation on race that white people just don’t want to have. White people are that creepy and disturbed.
Well, unless they’re female and in their 20s. They can survive the white race’s South African style just desserts at least until they can be raped first.
Jordan Peele’s “Get Out” (2017) hits the big screens nationwide on February 24th, but already is enjoying rave reviews from the professional (((critics))). In fact, this cheesy demagogic horror film has a 100% Rotten Tomatoes Review!
Did you know the black guy who plays Obama on Comedy Central is actually the second coming of Alfred Hitchcock? Could anyone have imagined that the unfunny version of the Wayans Brothers (“Key and Peele”) were capable of translating “satire” equal to George Orwell and Cervantes into a 90 minute horror film? That’s what the reviews claim.
But as with everything that doesn’t look right, split the apple and you find a nosy worm in coke-bottle glasses. The iron law of history holds: Everywhere whites are being defamed, vilified, and physically endangered, you will without fail find a Jew either creating or enabling it.
Let’s take a look at the kikes who are hyping this trashy popcorn flick up as the next Citizen Kane.
Village Voice, (((Alan Scherstuhl))):
Jordan Peele’s Get Out is the most trenchant studio release in years, a slow-building, often hilarious horror thriller built upon a dead-serious idea: that a black man walking alone through white suburbs is in as much danger as any slasher-flick teenager. Peele opens with that image, showing us, in a long and tense single take, a young man making his way down a sidewalk at night, studying the interchangeable homes for an address. A car eases up behind him, moving too slow, and the revelation — a sick joke you might choke on as you laugh — is that Get Out needs none of the phantasmagoric trappings of its genre to terrify. What’s the usual restless spirit or chainsaw maniac got on a paranoid white dude with a concealed carry?
Get Out is searing satire, with scary/comic riffs on slavery and assimilation, but it’s also a smashing crowd-pleaser of a horror film, complete with mad science, cult-like crazies, and a creep-out homage to Jonathan Glazer’s Under the Skin. The buildup to the big revelations can be uneven, and one tearful monologue gets plopped into precisely the wrong spot, killing the momentum after the craziest scene. But Get Out is fully surprising in both concept and craft, with the scares never coming just when you expect them and the secrets more audacious than you might be guessing. At the raucous screening I attended, the mixed-race crowd cheered the bloody third act, the violence — like its victims — all stirringly well executed. But even as Peele brings the house down with both kinds of gag, we see the serious toll of all this horror on Chris’s face and body. Neither the movie nor anybody watching can take it all as a joke.
US Weekly, (((Mara Reinstein))):
A great horror flick is supposed to prey on your worst fears. An ordinary situation — say, going to sleepaway camp or babysitting — is suddenly turned into a heart-stopping, gasping-for-air experience. It doesn’t usually also serve as a biting commentary on current race relations in America.
Enter Jordan Peele. The cocreator of the award-winning Comedy Central sketch show Key & Peele has written and directed a remarkably inventive film sure to get people talking for all the right reasons. From a genre perspective, it’s nothing short of groundbreaking in how it tackles taboos. And it’s scary good times.
Time Out, (((Joshua Rothkopf))):
A horror film with the power to put a rascally grin on the face of that great genre subverter John Carpenter (They Live), Get Out has more fun playing with half-buried racial tensions than with scaring us to death. To some, that will come as the slightest letdown: The movie is a touch too in love with its big idea—that meeting your white girlfriend’s parents might be hazardous to your health (even if, as we hear, they “would have voted for Obama a third time”).
Get Out is sharp and cutting during its buildup—you’ll never want this section to end—and the addition of two awkwardly ingratiating adults (Catherine Keener and Bradley Whitford) makes a comic meal out of white liberal privilege with every “cool” handshake and turn of phrase (“Hug me, my man!” Rose’s dad exclaims, drawing Chris in). Meanwhile, the movie brews a fine tension between the limits of parental largesse and Chris’s own independence, while a disquieting number of black servants look on like wide-eyed zombies.
Forbes Magazine, (((Scott Mendelson))):
Get Out mines discomforting tension from everyday racial inequities and microaggressions, and it makes no bones about the useless or counterproductive bravado of would-be progressive white folks whose attempts at self-congratulating tolerance reeks of patronization and condescension. Chris is at a constant disadvantage over the course of the weekend and Peele rubs our noses in that unequal playing field even as everyone around him is jumping through hoops to proclaim their alleged indifference to, or envy of, his blackness. It adds an obvious level of tension to what is already a relatively stressful scenario, as Chris is forced to grin and bear it even as his spidey sense continues to tingle.
Peele has not been shy about discussing his inspirations for his directorial debut, but Get Out works as its own unique concoction. It is a true original, harkening back to the classic socially-minded EC Comics that so scandalized America by blending horror, gallows comedy and angry social commentary into a kid-targeted stew. Since it is a story of a minority experience told by a minority, it has an extra kick of personal experience and doesn’t give a crap about offending the white folks who happen to buy a ticket.
Sundance Film Review, (((Dominick Mayer))):
While the film is deliberately obvious in its shots at racism in its various forms, Get Out isn’t the kind of film that exists to let the audience clap itself on the back for being above it all. Peele is sharply perceptive about how racism is so often diminished even by people who allegedly know better, and it’s a conceit that serves Get Out incredibly well. From the passively hostile admonishment of its title onward, it’s a horror movie that feels intriguingly unique even in its more standard moments, and a reminder of the genre’s power to address the world’s most unpleasant facets and offer audiences a kind of release from them. And it’s a potent reminder that sometimes, for some, there are few things scarier than a bunch of smiling WASPs.
Screen Crush, (((Matt Singer))):
Get Out is one of the sharpest horror films about the uneasiness that comes with meeting a loved one’s parents and siblings for the first time and the subject of blended families. Unnerving and laugh-out-loud funny, its tale of an African-American man who goes home with his white girlfriend for the first time doesn’t exactly paint the most flattering portrait of the lead character’s potential new family. It does what all great horror movies do: turn real-world anxieties into the stuff of nightmares.
All of these reviews are dripping with racial hostility towards white people. You can just imagine what kind of ends these evil white people meet in this gory torture film.
“Get Out” of course was commissioned and produced by the Jew Jason Blum’s “Blumhouse,” who undoubtedly encouraged Peele to go all out on the “Smiling WASPs.” No negro would come up with this kind of trash on his own, they are being ideologically instructed through – I quote one of the reviews – “angry social commentary into a kid-targeted stew.”
That is why I always encourage people to spam Colin Flaherty’s Youtube channel with facts about Jews leading blacks against whites. Despite his interesting and useful journalism, the Shakespearean rhetorical questions he ends every video with like “What is causing all this black hostility?” get repetitive and tiring.
The answer is Jews. If whites become a physical minority in America, they will exterminate us to the last man, woman and child. Get them out of our media and out of our damn country!