Directed By Jordan Peele
Starring – Lupita Nyong’o, Elisabeth Moss, Anna Diop
The Plot – In order to get away from their busy lives, the Wilson family takes a vacation to Santa Cruz, California with the plan of spending time with their friends, the Tyler family. On a day at the beach, their young son Jason (Evan Alex) almost wanders off, causing his mother Adelaide (Nyong’o) to become protective of her family. That night, four mysterious people break into Adelaide’s childhood home where they’re staying. The family is shocked to find out that the intruders look like and talk like them, only with grotesque appearances.
Rated R for violence/terror, and adult language throughout
– Intelligence in horror. What I’ve come to love and expect about Jordan Peele’s level of terror in scaring his audience, is that his material on the surface level is merely table dressing for a much more complex and personally reflective beat of the plot that always sneaks up on us. His newest film offers a combination of social and political commentary that not only brings forth the poignancy in audience discussions after the film, but also breathes life into an edginess in thoughts and ideals that better help establish the worlds he conjures up in his films. Between “Us” and “Get Out”, Peele’s worlds feel very much like a place where your fears and phobias are brought to life, residing a collision between practical and fantasy worlds that move together as one cohesive existence.
– Legend behind the lens. Considering this is only Peele’s second directing effort, it’s incredible the kind of emotions he emits from his actors, as well as the combination of framing and unnerving camera angles that contain the breathless atmosphere without losing so much as a single ounce. Not only does this film feature a barrage of gorgeous photography and articulation with its usage of shadows and over-the-shoulder framing, but Peele as a host constantly masters the most effective camera placements that better manipulate the experienced horror moviegoer from ever catching on. These are fake-outs that prove that jump scares are for the desperate, and each time Peele maintains his distance as being one step ahead, he manages to hold my attention so that I’m practically screaming for resolution by the time it finally appears. As a magician filmmaker, Peele is years above his experience in the game, and establishes that he has just as much style to match the substance that his audience feast on.
– Riveting performances all around. It’s great to see Winston Duke getting more starring roles, because his endless charisma and on-screen grip on the pacing of each scene, make him a bona fide star in the making. Here, Duke’s dual transformation is physically incredible, as his protective father figure spouts corny jokes and feels middle aged when compared to his much more powerful and dangerous doppleganger, whose only similarity is facially. Sadly, Duke will always be second if he acts next to Nyong’O, because Lupita is a revelation of emotional prowess that rumbles the screen constantly throughout. Considering each actor is theoretically playing two roles, it’s interesting to see how each actor gets lost in the psychology of that second character, But it’s Lupita who opens up for us as this deranged, raspy voiced antagonist, who clearly takes the cake. Adelaide by herself would be enough to captivate, if even just for her stirring stare that burns a hole through her opposition, or the endless stream of tears that constantly flood her eyes, but the intensity and entrancing command she holds on the film’s exposition, materializes a lot of angst and insanity that we rarely get to see from her, and brings forth that Academy Award winning actress’s single best performance to date. Quote me.
– A familiar partnership. Peele isn’t alone in trying to bring forth the same magic and mayhem that made 2017’s “Get Out” the surprise hit of the year, this time bringing along (Once again) musical composer Michael Abels to ring through our ears a score that thunders with the kind of intensity that pay homage to 80’s slasher giants. For my money, it’s Abels mixing during Luniz’s legendary track “I Got 5 On It” that not only mimics the film’s earlier playing of it in the same way that these look-alikes mimic our protagonists, but his sampling is used during the film’s big third act reveal in a way that rivals only “Hello Zep” from the “Saw” soundtrack for delivering such mind-blowing information. Abels himself has only done work in three films now, but it proves that the right man should never be counted out because of what a resume contains, and I for one think these two men should remain on good terms for the foreseeable future.
– Plenty of surprises along the way. One of the things that worried me about the trailer was that its revealing, out-of-context, imagery might reveal far more to the curious audience than we would like, but as a writer Peele has saved his best surprises for when the pieces come together to make the bigger picture, that I promise you didn’t see coming. I worry that too many twists might alienate some audience members, but for me that story was even slightly over-explained, but it allowed me to remain shoulder-to-shoulder with the evolution of a script, and kept things firmly paced in a way that kept the screenplay from ever feeling muddled in redundancy.
– There’s much to be said about the way Peele takes time and care to bring along these characters in a way that makes them every bit as intriguing as their togetherness is essential to the progression of the plot. Funny enough, some of the movie’s best moments for me, was during the first act, when the deconstructions of this modern every day family were being presented, and the elements of horror and suspense hadn’t presented themselves yet. This is of course a testament to Peele’s confidence in his actors, but more than that it proves that Peele would rather establish the connection between these characters before ripping it apart. This in turn will better establish tragedy in the circumstance, which in turn will give you protagonists to root for, a lost art by today’s horror standards.
– An 80’s aesthetic? One of the things that pleasantly surprised me about this film is that part of the movie’s early story takes place during the slasher decade that I mentioned earlier, and what’s even more appreciating is that the use of this gimmick never overstays its welcome, nor does its inclusion dictate suffocating weight on the entirety of the film. Take a film like “Captain Marvel”, a movie that drowns out audiences with poor sound mixing in 90’s musical tracks, and familar fashion trends that never allow the environment to blend synthetically with the story itself. “Us” doesn’t have that problem, instead showing us a few iconic moments from that age, and twisting them in a way that leaves a noticeable weight on the moment from the era itself when you think about it from now on, instead of impacting the creativity of the film itself. This is text-book for how you should use a decade gimmick.
– Clever clues. Much like my review of “Climax”, this film also has an important introduction scene, that oddly enough also involves a shot of a television and some video tapes on the side of it, and much like the movie I previously mentioned, there are subtle clues that key you in to what you should come to expect in this film. I won’t give away anything, but one film on the side of the television certainly feels like a heavy influence now that I’ve seen the movie and know all of the tricks of the trade. One thing I can spoil without any consequences is a sticker on one of those video tapes that reads “1 hour and 44 minutes”, and that is the exact length of “Us”. Small things like these have no impact on the film itself, but it’s creativity that I always give extra points for, because it feels like a secret that only I was clued into because of the studying that I take in learning about a film before I review it.
– Things don’t add up with the twist. (MAJOR SPOILERS). Some of the things that bothered me with the third act twist’s big revelation exist with the rules and logic of such establishments that I simply couldn’t overlook. With as many people as there are in the world, this tunnel seems far too small to replicate every single one of them. If the people underground can control those above ground, why wouldn’t they just convince them to kill themselves? Some flashbacks also don’t make sense when you consider this third act switch. Who is remembering this girl’s life before the night that changed her forever? Where did they get the red suits? That’s a lot of suits with a lot of fabric for that small tunnel.
– As much as the humor lands consistently throughout, Peele’s biggest problem as a screenwriter seems to be his ability to know when to subdue it. The comedy is good enough to appreciate it in those breaks in between a suspenseful roar, but it begins to overstep its boundaries through the compelling exposition scenes, which require more focus to instill their impact. Much like “Get Out”, this is one of the biggest problems that Peele hasn’t quite gotten over yet, and while I understand that comedy will always be his first child, there’s a place and a time in horror for it that if done wrong could have serious consequences on the consistency of tonal flow.
My Grade: 8/10 or B+