>Get Out is a horror-comedy for Black History Month.
>What was it, exactly, that the all-media screening audience at the new movie Get Out was cheering for when the black protagonist killed an entire family of white folks one by one? Get Out isn’t simply a revenge thriller; it’s a state-of-the-divided-nation movie. In this horror-comedy, 26-year-old middle-class black photographer Chris Washington (Daniel Kaluuya) travels with his white girlfriend Rose (Allison Williams) to her family’s idyllic exurban home and discovers a racist cult intent on siphoning black men’s mental and physical energy. Guess Who’s Coming to Dinner meets Rosemary’s Baby meets Meet the Fockers. Hollywood high-concept goes low — and unfulfilled. The horror side of the story shows writer-director Jordan Peele (Keegan-Michael Key’s costar on Comedy Central Network’s Key & Peele) imitating the slave-era terror of 12 Years a Slave. Peele’s plot jacks up that film’s existential paranoia, a modern response to the helplessness of enslavement that politically naïve kids now dread as a modern American reality. The comedy side churns out trite “post-racial” ironies that have defined political humor for the past eight years (protecting and defending former president Obama) and that now threaten to continue in bizarre guises like this. Rose informs Chris that her parents (Bradley Whitford and Catherine Keener) “would have voted for Obama a third time if they could.” Any audience who laughs at that is either scornful or regretful, so why the applause at the murderous finale?
Armond White on "Get Out"
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>Peele wants to have it both ways, as in the TV series Key & Peele, in which the biracial duo capitalized on how Obama’s biracial identity was reformulated as “black.” As if celebrating social enlightenment, they concocted unfunny routines deriding black paranoia and white superstition. Get Out shares that opportunistic misconception. Its slug’s-pace opening (using an inept subjective point-of-view angle) replays the Trayvon Martin incident: A lone black male on a cellphone walks through an unfamiliar suburban community when he’s attacked. The movie never shows us that character again, but the implication is enough to set off obsessive social fears.
>Get Out is an attenuated comedy sketch in which serious concerns are debased. Pushing buttons that alarm blacks yet charm white liberals, Peele manipulates the Trayvon Martin myth the same way Obama himself did when he pandered by saying, “Trayvon Martin could have been my son.” That disingenuous tease is extended in Peele’s casting of Daniel Kaluuya. Son of Ugandan parents, the handsome, round-faced, British-born actor triggers sympathy (he has the young, clean-cut buppie co-ed look that brothers Branford and Wynton Marsalis rocked in the ’80s). But Kaluuya’s strongest historical associations must come from Peele’s subconscious: The actor’s dark-skin/bright-teeth image inadvertently recalls the old Sambo archetype. Kaluuya frequently goes from sleepy-eyed stress to bug-eyed fright. Surely Spike Lee would have recognized the resemblance to Stepin Fetchit, Mantan Moreland, and Willie Best, the infamous comics who made their living performing Negro caricatures during Hollywood’s era of segregation. Peele seems too caught up in exploiting modern narcissism to notice old repulsion. Sambo lives matter. Question: Will Kaluuya’s wild-eyed consternation be equated with James Baldwin’s bug-eye perspicacity in I Am Not Your Negro?
Americans are weird.
In Get Out, just as Obama did, Peele exploits racial discomfort, irresponsibly playing racial grief and racist relief off against each other, subjecting imagination and identification to political sway. Get Out’s routines — Chris identifying with a wounded deer, Chris being introduced to clueless, suspicious, patronizing, dishonest, and rapacious whites — paint a limited, doomed picture of race relations. Like a double-dealing demagogue’s speech, there’s just enough pity to satisfy black grievance and just enough platitudes (Rose back-talking a white cop) to make whites feel superior. When an Asian party guest asks Chris “Is African-American experience an advantage or disadvantage?” it reveals Peele’s own biracial anxiety. That question is too heavy for a film so lightweight. Peele depicts Chris’s sense of isolation, of “living in a sunken place.” (After Rose’s mother hypnotizes Chris, he’s shown adrift in a limbo without any attachment to the real world except a sorrowful memory of his parents’ death.) Chris’s detachment from real-world social status brings to mind the cluelessness of the Hope & Change generation, in dire need of a reality check; instead, Millennials rely on the Obama era’s civil-rights bromides and social-justice aphorisms. Get Out does not rank with America’s notable race comedies — Brian De Palma’s Hi, Mom!, Ossie Davis’s Gone Are the Days! (Purlie Victorious), Robert Downey Sr.’s Putney Swope, Melvin Van Peebles’s Sweet Sweetback, Hal Ashby’s The Landlord, Rusty Cundieff’s Fear of a Black Hat, Skin Game or any of the genre spoofs by the Wayans family, particularly the ingenious Little Man, or the recent Eddie Murphy films (The Klumps, Norbit, Meet Dave, A Thousand Words) that are so personal and ingenious, they transcend racial categorization.
>But unlike Eddie Murphy, a masterful actor with a mature sense of humor, Peele fails because has not created credible characters. Chris and his ghetto friend Rod (Lil Rel Howery), who works for the TSA, are attitudes, not complex beings. The other blacks Chris encounters as servants on Rose’s family estate are no better than Trayvon Martin–type effigies — zombie-like when not sorrowful and tearful. Exploiting black people’s tears, paranoia, and pain without providing reflex is offensive — whereas the great “Be Black, Baby” sequence of Hi, Mom! caught audiences in their own racial prejudices and forced them to laugh. (Here, LaKeith Stanfield’s impersonation of comic Dave Chappelle’s still-puzzling neurosis is too alarming to laugh at.) Peele’s self-congratulatory revenge humor has one particularly notable irony: It’s tailored to please the liberal status quo. His pace seems slow largely because the jokes are obvious: Bitch-goddess Rose trolls black sports websites in her bedroom, which is covered with basketball posters, recalling Scatman Crothers’s Afro erotica in The Shining. Chris even gets confined in a symmetrically furnished den with a 1960s TV console, Kubrick-style. Once again, the 1960s serve as a race hustler’s vengeful reference point. But when the get-whitey genre was initiated in those blaxploitation movies made after the turmoil of that decade, artists from Melvin Van Peebles and Larry Cohen to Bill Gunn and Gordon Parks toyed with various genres to dramatize American social and economic circumstances. Black political consciousness was being realized on screen for the first time. Get Out is the recrudescence of Obama-era unconsciousness. Reducing racial politics to trite horror-comedy, it’s an Obama movie for Tarantino fans.
THANK YOU BASED ARMOND
Link to article though?
>Son of Ugandan parents, the handsome, round-faced, British-born actor
>handsome
He looks like an A. Wyatt Mann caricature with those yellow jungle eyes and huge lips
Armond is a gaynigger
>too stupid to google "armond white get out"
Jewish propaganda
>>too stupid to google "armond white get out"
I just googled that term and it nothing but people criticizing his work.
You can say that again
>If fanboys don’t cream to Batman’s dream sequence (“It took me to the lie, a beautiful lie” Wayne says), grown-up gay men surely will. In his dream, Batman wears a leathery mask, hiding his identity, while he is taunted by wasplike creatures and forced to acknowledge Superman’s equivalent virility. This goes beyond Guy Ritchie’s boy-boy teasing in last year’s The Man from U.N.C.L.E. (which co-starred Cavill). It is the most surreal dominance-submission dream in Hollywood history. But Batman v Superman is also a political allegory, using masculine sex appeal to examine America’s current political confusion. Zack Snyder’s comic book avatars are not for children.
Don't be jew, I don't want to give National Review clicks. link to archive?
The entire article was posted itt
>irresponsibly
Opinion disregarded.
Wow thanks Obama
>Opninion discarded
>why isnt this movie sanitized for the modern political climate?
The modern Pauline Kael.
I don't think you understand,
>why is this movie sanitized for the modern political climate?
I really dont get this movie. the villains in it are white liberals, but only white liberals would want to see it
Wow, I saw a 30 second trailer that actually made this look good, I didn't know it was some racial comedy horror shit. No thanks.
why is modern culture obsessed with black people and race?
Reminder that the gay minority has a skewed world view
>skewed
So what, it's really interesting to hear the opinion of an educated gay nigger, who isn't spouting liberal talking point. He has the erudition to give his opinions weight.
The rest of the world isn't Sup Forums and will watch movies critical of their opinions.
Because race has for the last few decades played a major role in the socio political climate of the america.
But is that political climate not a result of the culture?
>Chris and his ghetto friend Rod (Lil Rel Howery), who works for the TSA, are attitudes, not complex beings.
>blacks who are attitudes, not complex beings
10/10 statement there
go sip some starbucks you smug faggot
no, its just constantly talked about. I have no interest in seeing more liberal white guilt shit. some people have different color skin, stop obsessing over it
I'd say the inverse is true, the people who watch this film will have their worldview validated. See
I wish it were that simple.
The homosexual minority thinks that everyone is secretly gay and tries to find gay subtext in everything
the contrarian we need but don't deserve
I didn't get that when reading his gay review.
Why is it that people on this board shit post Almond White reviews when they hate a black centric movie, but not when he loves the film as he did with Hidden Figures?
God I wish niggers would just fuck off
Because hidden figgers wasn't so clearly anti white as get out is
Armond is based
This man has been openly tweet cheering for Kellyanne and Spicer.
I for one cannot accept any art debate arguments from this man, whatever his upbringing and perspective.
If you're going to spend time dumping 20k characters on how 90% of movies sucks every week, on two webzines, yet be so stuck in a conservative ass as to tweet "yay for kellyanne" or "spicer what a man", it invalidates everything.
I didn't even watch this movie, nor plan to in the near future, but just fuck this man. fuck him in the ass
Im highly suspicious of any modern movie with a perfect 100% on rottentomatoes. Its like one of those movies that if you dont claim to love as a critic, you fear backlash from other critics.
>for Black History Month
One of the best things about being out of high school/university is I forget that this bullshit exists.
>There’s also wit in Spencer’s answer when her obstinate supervisor (Kirsten Dunst) says, “Despite what you think, I don’t have anything against you.” Spencer smiles as she replies, “I know you don’t think you do.” It almost makes up for the psychotic revenge she had to enact in The Help. Because Hidden Figures never succumbs to equating the struggles of the past with modern grievance, it rises above today’s undignified protesting.
It's just an ahistorical We Wuz film, less about get Whitey. Armond is GOAT regardless.
Art is inherently political and you are a nu-male.
>fuck him in the ass
you know he'd enjoy it
>an Obama movie for Tarantino fans
>Art is inherently political
When you dedicate your entire career to dissecting movies like this, sure, it begins to make sense.
>and you are a nu-male
whatever this means
Did you see Hidden figures ?
>If you're going to spend time dumping 20k characters on how 90% of movies sucks every week, on two webzines, yet be so stuck in a conservative ass as to tweet "yay for kellyanne" or "spicer what a man", it invalidates everything.
how is life in a bubble
>Can't even accept opinions because of a different political alignment
>a thing set aside for a certain group of people
This is an interesting concept. I wonder what other applications there could be.
>white liberal reviewers praising this movie out the ass
>It takes based darkie Armond to call it out for what it is
not every movie makes a political statement. You are reading too much into things if you really believe that
>based darkie
What would he think if he knew his admirers called him a nigger on a Finnish fishing forum?
>implying disagreeing with it is not accepting it
sure closed the logic door there
>reviewers praising this movie out the ass
>Armond to call it out for what it is
wow what a shocker.
coming from a contrarian.
it's, like, literally his job. literally his style
he literally goes to the movies set to hate them, give or take a few "auteurs"
who honestly wants to see this movie? what is the appeal?
Culture is intertwined with politics, and the changing nature of art as a medium, whether it's painting changing with the popularization of photography, or the development of film, there is always an undercurrent to the emotions expressed. If there is not, then the artist either achieves a transcending beauty that is apolitical, but this is only a postulation, as art or beauty in art could be the culmination of a cultures highest values, and therefore would be political once again. Quite frankly, culture, politics, and art is like an intertwined rope. They are inseparable, and if you do separate them, it will be lacking, or your analysis will be lacking.
Rephrase it to your pleasure.
Pleb
you must be insufferable to be around
as opposed to the other critics who want to be right in line with rt scores and make sure to never have a differing opinion ever
You're forgetting just how much liberals love their own forms of self-flagellation. Liberal faggots will go see this movie and feel deeply moved by it's message of "blame the white devils for everything."
not an argument
I think Peele has the same problem that a lot of mixed people does. We lack a clear identity so we go way too hard for one side or another. 9 times out of 10, that's the "woke"/black side, because a mixed kid looking white is pretty damn rare.
I can have that effect on people.
This race thing in America is getting real weird.
It's just Stepford Wives but blacks instead of women, why are you all getting so mad. It actually looks creepy and unsettling, I'm looking forward to seeing it for entertainment only.
Because that's what you do with movies.
And their fucking media is pushing that shit across the sea too
>mfw there were BLM protests in the UK a while ago
>some black kid was chanting about how there's systematic racism in the UK and how his senpaitachi were getting killed and locked up
It's the result of several things
Well I'm not american so it's easy to ignore that stuff, but I've come to understand that if you were a black american it has had a massive effect on how you were treated at school and by the media and society in general. A black Americans blackness is a bigger part of their lives than an irishmens whiteness. It's natural that there would be some films that directly reference it.
>black men’s mental and physical energy
>black men's mental energy
what did they meme by this?
>getting real weird
It used to be weirder.
I saw a picture of some Brit holding up a sign saying #NotMyPresident.....yeah, no shit, you're in the UK.
>there are blm protest in NZ
>and AUS
>and fucking sweden
has america cucked the world
I dont think youve read the full plot. The white people want to literally get brain surgery to be planted in the black guys body
o-oh. wat.
Blacks invented math user. The Arabs stole it from them. The concept of 0 came from a black man.
yeah, black people have it so hard here. They are so much happier and better off in africa
>but only white liberals would want to see it
its called white guilt
and you know what the movie gives as the reason? because being black is cooler and more fashionable
>Guess Who’s Coming to Dinner meets Rosemary’s Baby meets Meet the Fockers.
kek
>this triggers the liberal
Love it. Based Armond.
>I saw a picture of some Brit holding up a sign saying #NotMyPresident.....yeah, no shit, you're in the UK.
God I hate these self important fucks
American media is so fucking noxious.
Well now we got Trump, so y'all better be picking up on some of that nationalist vibe we got going down.
>I saw a picture of some Brit holding up a sign saying #NotMyPresident
do u read Nietzsche
Once in philosophy 220. It was dank.
he was a depressed loser with a bunch of bullshit ideas. Dont care for him
He was talking to me
>I hate these self important fucks
I think it's sort of cute. They're just trying to feel like they're a part of something important.
>American media is so fucking noxious.
Your media is no better. I've seen the Daily Mail and the Sun reporting on your politics and your Premier League. Where do you think we learned it from? The legal rulings that allow our media to say absurd shit and get away with it actually come from some Scottish lawyer all the way back in the 1700s (Andrew Hamilton or something).
Nigger, if you're going to start a fucking thread about this shit, it is YOUR obligation to post the link to the article.
Better yet, it is your obligation to also post an archive.
This is common fucking sense.
>he was a depressed loser with a bunch of bullshit ideas. Dont care for him
he tried to find an objective reason for purpose in life that could exist outside a religious framework
this is because he realized society would start to decay once religion started dying
this is what made him go crazy
why does his face change shape wtf
well chris cuckmann goes on about this movie like it deserves an oscar. so can we confirm it, like him, is shit?
no
what made him go crazy was that he was broke, unwanted, shunned and utterly invisible to the opposite sex.. he is the r9k of modern day writing
If a movie came out this year and the white characters in the movie acted like you are acting right now you would write it off as liberal white guilt demonizing you.
well tabloids like the daily mail are a little different to something like the BBC (which still has its ridiculous moments ), it seems like all the main US news outlets are tabloid~esque while pretending to be serious and respected, not very sure what the general consensus over there is about them, seems like people are getting tired of them and their lies though.
>his face
delete this
Genius is a blessing and a curse.
i have no idea who this man is but just from the fact that he's white i assume that he is wrong
White liberals hate themselves
>let me tell you how you would act person I know nothing about
projection is amazing
...
This