The top negro film director Jordan Peele, whose 2017 film “Get Out” was nominated for 4 Oscars and won one, has a new film coming out early next year called “Us.”

From the trailer, it is rather clear that this is not the kind of movie that his last film was. “Get Out” was an aggressively anti-white propaganda film, which featured a black man dating a white middle class girl only to find that her family were racist murderers.

From the trailer for “Us,” I can gather that the film is largely free of white people. Instead of promoting a negative image of whites, it is promoting a positive image of a middle class black family. This is “Cosby Show” type propaganda.

Positive portrayals of blacks that come without negative portrayals of whites are much more easy for white people to swallow, for obvious reasons. In fact, white people tend to be very excited by the fantasy portrayal of blacks as being ultimately capable of integrating with white society, as their ultimate fantasy is white people no longer being forced to feel guilt over black failure, and black assimilation to white culture would mean that white guilt is no longer necessary. We will no longer have to treat black people like children, once they begin acting like adults. The entire weight of the thing will be removed.

It is logical that Peele would go in this direction – I’m sure with some input from Jewish producers – for his second film. If every film he releases is simply anti-white propaganda, many white people will not wish to see his films. So my prediction is that he will oscillate between films which focus on portraying whites negatively and films which focus on portraying blacks positively.

Although I have never seen “Get Out,” I have no reason not to assume he is a competent film director.  Whereas many “black movies” get positive critical feedback, while receiving no feedback or negative feedback from audiences, that film was received positively by both critics and audiences.

Furthermore, Peele’s sketch comedy show “Key and Peele,” which he wrote and starred in, was very well done from the clips I have seen.

A competent black film director is something of a very high value to the Hollywood Jewish elite, so I am very certain that they are going to be extremely careful in making sure that he is successful and avoids the reputation that black directors Spike Lee and Steve McQueen have of being political propagandists.

Despite its anti-white themes, “Get Out” was done in such a way that it did not trigger a backlash from conservatives in the way that many anti-white films do. Again, I have not seen the film so I cannot comment on its execution, but the lack of outrage is probably in part due to the fact that it was a horror movie. Horror films deal with fantasy themes, and those themes can often obfuscate a political message. That is presumably at least part of the reason why Peele, who was known for comedy before his directoral debut, chose to go into horror films.

The concept of anti-white messaging does not seem to bother the average conservative, but rather they are bothered by the perception that they are being lectured or blamed for something that they didn’t do.

The conservative pundit and white supremacist gang-leader Gavin McInnes actually did a review of the film and claimed that it was showing that liberals are the real racists.

I have no idea how many conservatives felt that way, but the fact that he made that argument – apparently based on a New York Times take on the film – indicates it was possible to leave the film with that impression.

The Black Capacity for Assimilation

Positive portrayals of “normal” (white behaving) black families are not necessarily negative in themselves. The negative element of this is when it is presented not as the way blacks should be, but as the way they would be if it were not for white racism.

I want to be clear that I have never believed and never argued that 0% of blacks are capable of assimilating and behaving like white people and merging more or less flawlessly into white society. The disagreement between myself and the liberals would be on what percentage of them are capable of this, as well as the reasons so few achieve it.

Liberals argue that there is no difference between blacks and whites, meaning that the same percentage of blacks would be able to live a middle class lifestyle – this is 90+% – if it were not for white racism. I would argue that it is less than 10% that are capable of this, and the reason that 90+% don’t achieve it is that they are biologically incapable. Furthermore, I would argue that “regression toward the mean” means that we cannot make real progress in this area.

The reality situation is that a specifically talented black – such as Jordan Peele – will have children that are almost as likely to become violent, crack cocaine addled blacks as blacks that are born to a normal, poor black family, all things being equal.

The Standard Modern Portrayal of Blacks in Media

The above having been said, portrayals of blacks in media as behaving like white people would be better for society generally than portrayals of them behaving like Rick Ross.

Blacks are very sensitive to suggestion, and the Jewish media has largely focused on purposefully encouraging their most negative traits.

The rap music industry is similar to shows such as Sex in the City, which targets women and encourage them to engage their most base biological drives.

And this is virtually a constant thing. The only portrayals of positive images of blacks behaving normally that I see are featured in movies that are marketed to a white audience.

Outside of the extreme examples of rap music (which are the most prevalent examples of blacks in media created for black people), one might look at the Madea films by Tyler Perry.

These films, which are marketed and almost exclusively viewed by black people, portray blacks realistically – illiterate, silly, criminal, sexually pathological – while making no attempt to present any kind of “aspiration to be more successful like white people” message.

A quick look at a list of “best black movies” shows that virtually all of these films feature blacks in one of two roles:

1. Realistic blacks that reflect the current state of black society (crime, drugs, etc.)
2. Blacks as victims (slavery, racism, etc.)

The first type is marketed mainly to black people while the second type is marketed mainly to white people (though modern blacks will generally tell you they are victims of white racism because they are told that constantly by Jews, they do not appear to find it entertaining to watch portrayals of themselves as victims; it would be as difficult to find a black person that has ever seen “Roots” as it would be to find a white person who has not).

I am not aware of any media targeted at black people that promoted acting more like white people having been released since the 1970s.

“Institutional Racism” has an Inverse Connection to Black Failure

Even though I do not believe that it is possible for very many blacks to assimilate, I think that promoting “acting white” as the ideal would result in significantly less violent and anti-social behavior by the blacks.

In fact, Jim Crow did just this.

Black people’s rate of illegitimate children skyrocketed following the end of Jim Crow.

Their prison population also exploded.

The theory that white racism is responsible for black failure is absolutely nonsensical based on the fact that black failure has a directly inverse relationship to so-called “institutional racism.”

And yet, Jewish media uses positive portrayals of blacks to make the claim that all of them would be in this situation if it were not for white racism – which is exactly the opposite of true, based on clear factual data.

During slavery – the height of “institutional racism” in America – you had virtually a 100% black child legitimacy rate and virtually a 0% black crime rate, and each successive, and each successive stage of “liberation” from the freeing of the slaves onward has driven these numbers in the opposite direction.

The idea that white people freed the slaves and then progressively gave more rights to blacks as some kind of sadistic conspiracy against them is even more of a lunatic concept than the idea that whites prefer to have violent criminals roaming their streets and attacking them than civilized negroes – and both of those things would have to be true in order for the argument that black failure is a result of white racism to hold up.

Conclusion

I will believe that positive portrayals of white-presenting middle class black families, such as the one featured in the trailer for “Us,” are intended to do something other than accost white people when the Jewish media stops portraying black drug-dealing pimps as the epitome of human masculinity and ceases to blame white racism for black failure.

Until then, I cannot take seriously the claim that there is any qualitative difference between “anti-white” and “pro-black” media messaging.

Pepper your angus for a new cinematic masterpiece, White man.

Fresh off their success with ridiculous White-bashing movie “Get Out,” the Jews and their Negro servants are already concocting a new potent propaganda attack on the American people.

For those lucky enough to live under a rock, “Get Out” was a movie where jealous White supremacists kidnapped Blacks and stole their bodies through some kind of sci-fi apparatus. Yeah, the plot was that stupid.

The movie got affirmative action reviews, meaning that they can now justify giving these retards another change to Jew us.

Breitbart:

Spike Lee and Get Out filmmaker Jordan Peele are set to produce a feature length film about a real-life African-American detective who infiltrated the Ku Klux Klan in 1978, according to The Hollywood Reporter.

The project, titled Black Klansman, will be produced and directed by Lee, with Peele also serving as a producer.

The movie tells the story of a black Colorado Springs police detective named Ron Stallworth, who joined and rose through the ranks of the KKK in 1978 by pretending to be a white man during phone calls while sending a white fellow officer in his place to attend KKK meetings and events.

So the negro isn’t the one doing the infiltration, then.

It was some White guy.

That’s actually pretty disappointing.

I would have paid to see the movie where some Black guy joined the KKK undercover. I guess I’ll have to make that movie myself some day. Sigh…

Stallworth gathered confidential information and used it to thwart cross-burnings successfully and other would-be plots the hate group had planned to carry out.

I’m not a lawyer, but is burning pieces of wood a felony in the USA? Why is the police carrying out “infiltrations” of legal groups such as the KKK in order to prevent that?

Also, if America is a White supremacist, anti-Black nation, why do they allow these monkeys to join the police force and conduct “investigations” on White groups?

Hmmm…

HBO’s Ballers star John David Washington, the son of Denzel Washington, has been tapped to star as Stallworth in the crime thriller. Production for the film is expected to begin this fall.

The screenplay, adapted from Stallworth’s 2014 autobiography Black Klansman, was written by Lee, Charlie Wachtel, David Rabinowitz, and Kevin Willmont.

Unsurprisingly, they had a Jew help out writing the screenplay. The apes can’t be let too far off their kosher leash, after all.

While some of the Jew’s earlier anti-White propaganda efforts have been cleverly crafted and relatively subtle in their emotional manipulation, Hollywood is really letting itself go these days. Movies like “Get Out” and “Django Unchained” are over-the-top, naked hate flics.

Crap like this is what makes ordinary White tune out from the Jew culture.

There’s no doubt that this sloppy and unhinged form of attack is adding fuel to the nationalist fire rising up in America.

We need more of these alt-right reviews of pop culture. E;R has a great channel where he reviews movies and cartoons with more or less subtle red-pills about the content.

We need people doing the following:

• Alt-right movie/show reviews
• Nazi video-game let’s plays
• Fascist vaping videos
• Etc

Get on it!

I wrote about the new horror film “Get Out” a few weeks ago, and pointed out how the majority of the stellar reviews were written by Jews.

Some “conservatives” are interpreting this movie – which is about a black guy slaughtering villainous suburban white liberals who turn out to be secret racists – as a “Democrats are the Real Racists” type of message, but I challenge that summary. The film can be interpreted that way, but Jew producer Jason Blum and black director Jordan Peele’s sentiment isn’t meant to scratch the conservative itch for “based black guys” as Gavin McInnes claims.

Throughout history, the genocide of a people follows a process of dehumanization as a prelude. For example, in the bloodiest epochs of the Soviet Union, the targets for murder were labeled “counter-revolutionaries,” while in Israel, Palestinians (whether armed or not) are just “terrorists.”

White people in America are being targeted in the same fashion. Jews plan to gradually dwindle our numbers until we’re a small minority so that they can incite blacks and others to begin indiscriminately killing us and our families. In “Get Out” the whole family is killed, including the negro protagonist’s white girlfriend.  If you’re a white liberal who bends over backwards to accommodate Jews and their non-white pawns, you won’t be saved, because it’s white genocide – no asterisk.

For this reason, the target of the “Democrats are the Real Racist” message here isn’t white cuckservatives – this is just Jews instructing blacks to see that left-wing whites also need to be attacked and eventually murdered.

The Jew lives vicariously through the black on a physical level, as they perceive negroes to be strong and brutal while they are usually physically weak. The Jew believes strongly that negroes are an inferior race, but conversely, also sees the negro as a more primitive, virile version of himself. Both races are carnal and “loose” – Jews are even prone to instant gratification, they just have the money to get away with it. The way the black and Jewish collective unconscious likes to solve problems (brutality, murder, terror) is identical, the Jew is just a very sophisticated version that is capable of shutting this off with his in-group.

Just like Jews are inbred but turn around and accuse Southerners of it, the Jew is the real cuckold that fetishizes black men. The concept of projection is largely psycho-babble, but the Jews who came up with projection were projecting themselves!

Liel Leibovitz writs for Tablet Magazine:

What’s truly terrifying about Get Out is that its monsters aren’t the stock bigots we’re used to seeing—the sweaty, swaggering sheriffs with Southern drawls, the oily Republican preppies—but a novel, and much more realistic, kind of menace. Peele’s villains say all the pretty things about white guilt and black empowerment and racial equality, but when it comes to doing, they’re very much proponents of more coercion from on high, more social engineering, more bad ideas that put the bodies and the minds of black people at mortal risk. Chris’ experience may be more macabre than usual, but it’s not fundamentally different than, say, that of the folks living on Chicago’s West or South sides—where 762 people were murdered last year alone, and where the response of the progressive administration was to call for making the already stringent and clearly ineffective gun laws even more stringent and ineffective—or that of the kids in Detroit, where decades of progressive policies have turned the public schools into crumbling monuments to hopelessness. In those cases and too many more, black lives matter mostly as abstractions, the moving background in the morality play designed to reinforce liberal pieties, vilify anyone who doesn’t hold the right opinions as racists, and, most tragically, ignore the real lives of real people in need of real help.

American Jews, thankfully, are considerably more fortunate, but the dread evoked by Get Out is not entirely unfamiliar. In most of polite society, Jewishness is treated in much the same way as the murderous Armitages treat blackness: an idea to be celebrated while the actual people who embody it are destroyed. For proof, look no further than Linda Sarsour, one of the organizers of the massive Women’s March, protesting the inauguration of Donald Trump: Having raised tens of thousands of dollars to help rebuild a Jewish synagogue desecrated by anti-Semitic vandals in St. Louis, she thinks nothing of siding with Islamic Jihad operatives or embracing convicted terrorists who have murdered two young Jewish men. To our progressive betters, this is not a problem: They embrace Judaism but have no problem with those who kill Jews. Platitudes are offered, power is preserved, and the parade of folly goes on.

Like many, I’ve witnessed it firsthand. Spending a few years as a professor at New York University, I soon realized that while my colleagues would, if asked, go to great lengths to denounce anti-Semitism as vile, they had little patience for anyone, myself included, who believed that Jews were people who deserved basic rights. When I emailed a fellow professor and asked to participate in a weekend seminar she was organizing to discuss the Israeli-Palestinian conflict—a subject I know a thing or two about—I was ignored, and eventually informed that the event was by invitation only, and that I wasn’t invited. It was, of course, dedicated to discussing the singling out of Israel for boycotts, divestments, and sanctions, a plot that would hardly benefit from the perspective of a proud Israeli-born Jew who insists his people have as much of a right to self-determination as everyone else in the world.

It was this kind of corrosive ideology—extolling the values of diversity while enforcing a crippling orthodoxy that had little patience for Jewish identity—that eventually drove me to get out of academia. It didn’t take long for me to learn the same lesson Chris does in the movie, namely that the point of this new strain of toxic liberalism isn’t really to help victims of racism or anti-Semitism or any other sort of discrimination; rather, it’s to reconfigure the identities of white people so that they may go on and enjoy the same exact comforts to which they’re accustomed. It’s the same prejudices wearing better clothes. And it works because it projects its disdain for the unruly lower orders onto poor whites—working stiffs like that hapless cop, schlubs who probably eat at Denny’s and listen to Toby Keith and vote for Donald Trump—while continuing to deny actual black people the right to cast themselves as the protagonists of their own dramas outside of the rigid scripts written for them by the white elite. The same is true for anti-Semitism, which the same elites can now project onto Israel: The Jewish State, our intellectual and moral betters insist, is the home of the bad Jews, murderous thugs who massacre innocent Palestinian babies and therefore can expect nothing less than the knife, the bomb, and the rocket, while the good Jews are those who nod in agreement, smile politely, think little, and say less.

So there’s two ridiculous ways in which Jews view this film: payback against the “white elites” of liberalism (!), as well as an expression of violent resentment against some of these liberals, who as universalists, have the nerve to condemn Israel for sterilizing blacks and exterminating an entire race of native people. It’s that Aryan objection to double-standards and love of principle – even in the mangled form some liberals live by – that Jews revile and believe leads to “left-wing anti-Semitism.” And because they know it’s in our blood, with films like this, they’re showing how they perceive us, and forshadowing what they have in store for us.

The villains in “Get Out” aren’t “white elites,” they are part of that minority of wealthy white liberals, but ultimately not very powerful or relevant aside from virtue signaling. The Armitage family (the evil white people in the film) aren’t influential (((New York Times writers))), (((political donors))) or (((Hollywood movie directors))), they’re meant to represent middle class suburban lemmings, the type who are sheltered enough to believe the races are actually equal and don’t mind if their daughter dates a negro.

But Jews want non-whites to know: there is no such thing as a good white person.

If you’re a liberal or have people in your family who are liberals, make sure they know that they won’t be spared.

The Jew has a pathological hatred of our folk and of the West and if he is not stopped, we’re done. The problem isn’t in how we treat them or behave – any other people would’ve thrown these Jews in cryogenic chambers so science can analyze evil incarnate.

*Spoiler Alert*

The ultimate irony here is that the white liberals in the movie kidnap young blacks to transplant their brains into when they get old or sick. That’s the very thing the Jew writing this piece in Tablet Magazine is doing by superimposing his race on the black as a vehicle for revenge.

The multi-dimensional irony and hypocrisy, rest assured, isn’t lost on Liel Leibovitz, he just wants to make sure blacks think it’s Bill and Nancy the granola liberals next door who is using them for nefarious purposes.

I am interested in the fact that so many Irish Catholics in the United States shill for the Jews. I have a detached view of this. I am myself a quarter Irish. And some of my favorite people are more Irish than me. However, the pattern is so staggering, that I can’t help but be curious.

What I want to point out is that while the Irish are used by the Jews, the Irish are not benefiting from it, beyond on the superficial material level. They put these Irish out there to mock and humiliate them.

In fact, the willingness of Irish Catholics in America to serve the Jews seems to result in worse treatment of them.

Case-in-point is newsman Brian Williams, who was used to push Jewish fake news and then thrown away like a used condom when he was caught. He was not the one responsible for any of the fake news he was pushing – he was just a handsome goy frontman for Jewish news producers.

Most humiliating is what they have done to Williams’ daughter, Allison.

Allison Williams, a lovely blue-eyed Irish Catholic girl, stars in the Jewish show “Girls” on HBO, created by the filthy Jewess Lena Dunham, where she partakes in sickening sex scenes with Jews.

This is a way to debase and humiliate her, and, by proxy, the entire white race.

Recently, a scene featured her being defiled by the hideous Jew Alex Karpovsky.

Images from the scene are shocking, and they actually seemed to have filmed it to purposefully show the hook of the Jew’s nose in profile, contrasted with her sculpted Aryan profile.

We are reminded of this.

As the Daily Mail pointed out, people on the internet reacted to the sex scene with visceral disgust.

It’s hard to put into words for those not awake to the Jewish problem, but what you have in this sex scene is something akin to the facehugger in Aliens.

Infamously, Allison had analingus (a rimjob) performed on her by the Jew Ebon Moss-Bachrach.

This was the first time analingus had been shown on television.

Bizarrely, she said in an interview – an interview she did alongside her father – that she called her parents to ask them for advice on the scene. Her father said he watched it.

Vulture:

How do you tell your family. Are you like, “Dad, sit this one out”?
No, also because of my wiring, I was like, “Any advice? What do you guys think in terms of what adhesive I should use?” I got some advice from my parents, because they too are veterans of the show, so their thinking has changed as well. I’d get a call from my mom and she’d be like, “Maybe if you took a thong and cut it away from the sides but you stuck it on in the front and the back it could work.” I was like, “Mom, I like your thinking.” Just your regular dinner conversation! We’re changing as a family; it’s lovely. 

Brian Williams
She’s always been an actress. For us, watching her is the family occupation and everybody has to remember it’s acting, no animals were harmed during the filming, and ideally nobody gets hurt. 

Now, the Jews have put her in the bizarre horror film “Get Out” about a black man being persecuted by suburban white racists.

She plays the lover of the Negroid.

Her parents are evil and murderous white racists in the film.

So, in serving the Jews, she has been brutally humiliated, in a sexually degrading way.

The Irishman and servant of the Jews Gavin McInnes was similarly sexually humiliated when his Jewish producer Ezra Levant told him to stick a dildo up his ass on TV.

I want to make it clear that I don’t think the over-representation of Irish in Jew-servant positions is indicative of a problem with the Irish. Indeed, this is an exclusively American issue, and I think it clearly stems from the Irish having the position of “outsider” due to Catholicism. As it were, Italians are also greatly overrepresented in these public Jew-servant positions.

On the whole, this speaks to the way Jews exploit any existing group dynamics which may present a conflict and use that to turn people against one another. The protestant-Catholic divide is an obvious conflict, which, in order to create a functioning nation, must be dealt with delicately with a cultural mind towards integrating the two groups, with the ultimate end of melding them, or at least reducing differences, generation by generation.

Instead, Jews take the fact that someone is different and exploit that to get people in the society to go to war against themselves.

Both Irish and Italians can and have integrated anywhere where they was an active attempt to do so. Mainly this happened where there was not a Catholic community, and so they converted. That is ideal.

I remember talking to my own grandmother about her own full-blooded Irish mother, and saying “well, she would have been raised Catholic then, no?” She replied “no, I’m sure she wouldn’t have been…” This response indicated that she viewed the idea as offensive and anti-social, given that it would have went against the cultural norms of our Southern Ohio zeitgeist.

The lesson here is that Irish are not benefiting from this continued role as outsider. I have given the example here of Brian Williams and his daughter, but there are many more such examples. For instance, Catholic girls appear to be overrepresented in pornography (there hasn’t been a study on that that I can find, but I’ve watched several of these documentaries about the porn industry and in them most of the girls talked about their Catholic upbringing).

More importantly, their entire society – American society – is being destroyed. They are not benefiting from a destroyed society. They also have to live here, and despite this opposition role, they are regular white people who are no more comfortable in this Jewish hell than Anglos or Germans.

There are probably a lot more Ireland Irish reading this than American Irish, so I want to point out that this has nothing at all to do with Ireland, and is exclusively an issue involving Irish-Americans. As I say, it is not an issue of the people themselves, but an issue of a lack of full assimilation, which has led to a loophole for the Jews to exploit in recruiting Catholics to serve as their footsoldiers.

Meanwhile, in Swedisota…

The Irish and Italians are not the only white ethnic group in America where one can see a behavior pattern that is harmful. Minnesota, which has remained basically 100% Scandinavian, has engaged in a social program mirroring that of their homeland, bringing in tens of thousands of Somalians.

This also speaks to the need for us to bury these cultural “roots” in foreign ethnic mindsets, and create a genuine Americanism with a genuine American race. The concept of the “proposition nation” has held us back from making this happen.

Rome went through an almost identical process, due to the exact same thing: multiple white ethnicities existing in the same geographical area, under the same government.

I was happy with my DNA results, as it showed that I am not some kind of specific European ethnicity, but a mix of European ethnicities – something which can only be called “American.”

Though it is interesting to think about roots, ultimately, America should be working to become a real nation, where the people have a homogeneous identity.

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!