Jordan Peele's Get Outmade over $30 million in its first weekend,Taiwan and garnered an extremely rare 100% on Rotten Tomatoes with over 100 reviews. Critics were floored, audiences were stunned but The National Review's Armond White didn't see what they saw.
"The horror side of the story shows writer-director Jordan Peele...imitating the slave-era terror of 12 Years a Slave," White wrote in the first negative review of the film, knocking it's "fresh" percentage on RT to 99%. "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."
SEE ALSO: 'Get Out' rips the mask off a monster we know too wellWhite, a controversial reviewer who was kicked out of the New York Film Critics Circle, is known for provocative reviews and contrary opinions. He pointed to Get Out's "'post-racial' ironies," comparing it to Key and Peele's "concocted unfunny routines deriding black paranoia and white superstition. Get Outshares that opportunistic misconception."
"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," White wrote.
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.
"Peele’s self-congratulatory revenge humor has one particularly notable irony: It’s tailored to please the liberal status quo," White added.
For some different takes, check out a critic round up of Get Outhere.
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