Get Out is a “trite get-whitey movie” by way of “a horror comedy for Black History Month,” writes National Review critic Armond White. “Guess Who’s Coming to Dinner meets Rosemary’s Baby meets Meet the Fockers” meets Trayvon Martin meets Stepin Fetchit and/or Black Sambo.

SCREECHING SPOILER: “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?

“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…Hollywood high-concept goes low and unfulfilled.

Get Out is an attenuated comedy sketch in which serious concerns are debased. Pushing buttons that alarm blacks yet charm white liberals, [director Jordan] Peele manipulates the Trayvon Martin myth the same way Obama himself did when he pandered by saying, ‘Trayvon Martin could have been my son.’

Imagine the SJW Twitter response if a white critic had written the following: “That disingenuous tease is extended in Peele’s casting of Daniel Kaluuya. A 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?”