Us
Writer/director Jordan Peele’s follow up to the Oscar-winning Get Out is another high concept horror/thriller that deals with some really big ideas. Expertly directed and tightly written, with some great dual performances from the cast, it’s a film that stays with you long after the end credits.
Premise: Adelaide (Lupita Nyong’o) is forced to revisit a childhood trauma when her husband Gabe (Winston Duke) takes their family on a trip to Santa Cruz beach for the summer. Initially, Gabe thinks Adelaide is paranoid, but soon the family find themselves confronted by their own mysterious doppelgängers.
Review:
As I’ve said before, I’m not a huge “horror” fan, but I do quite like horror films that are more towards the “thriller” end of the spectrum, rather than just a series of jump-scares. Us certainly fits that description, as although it is scary in places, it’s more about the persistent sense of tension and dread, rather than gratuitous violence or just things leaping out at you.
Us is a film that has a lot of big ideas, and I certainly don’t want to spoil any of the developments from the second half of the film. Suffice to say, this is not the straightforward home invasion horror film that some might have been expecting. But then again, anyone who’s seen Get Out, writer/director Jordan Peele’s debut film, should know not to expect anything “straightforward”.
“…Jordan Peele really knows how to crank up the tension…”
There are, in my view, three levels on which Us can be watched, and your enjoyment of the film may depend on which of those levels you’re most interested in. Firstly, there is the “emotional” level, where you enjoy the film for the visceral ride it takes you on. On this level, Us is a great success, as Jordan Peele really knows how to crank up the tension and the cast is universally great, meaning that it makes for an entertainingly tense and unnerving viewing experience.
The second level is the “intellectual” level, and it’s here that, for me, the film falters. What I mean by that is that there are a number of plot points that perhaps don’t make a lot of sense if you really stop to think about them after the event, and there’s a lot that’s still left up to the audience’s imagination by the end of the film. Some viewers might not find that to be a distraction, but for me, I was disappointed that there were still several major plot points that were not really explained by the end of the film. The fact that there are a number of major questions that are left open to your own personal interpretation by the end certainly didn’t affect my enjoyment of the film on an “emotional” level while I was watching it, but it did frustrate me a little afterwards (although I know many viewers might not have such a problem with unanswered questions).
“…he’s gone in certain directions that carry powerful allegorical weight…”
The final level is the “allegorical” level, where viewers can interpret the literal events of the film as metaphors for other, wider social issues. On this level, I think there is plenty to digest, and no doubt people will be debating what certain things represent for some time to come. And it’s here that I think Jordan Peele has prioritised the “allegorical” experience over the “intellectual” one, as he’s deliberately gone in certain directions that might not make literal sense, but which do carry powerful allegorical weight. It’s difficult to discuss any of those themes in detail, as most of them relate to third act revelations, but it's fair to say that there’s commentary on the pursuit of the American dream, the fear of otherness, nature versus nurture, societal marginalisation, the duality of human nature, and the effects of privilege. Plenty to get your teeth into.
The three difference levels to the film affected me in different ways. During the film, I really enjoyed it on the “emotional” level, but as I left the cinema, I was a little disappointed on an “intellectual” level about the number of unanswered questions that I still had. But then as I slept on the film overnight, and digested it on more of an “allegorical” level, I really appreciated the artistry and thought that had clearly gone into it.
“…‘Us’ is a masterclass in script writing…”
This film certainly confirms (if there was any doubt) that Jordan Peele is the real deal. Fresh from winning the Best Original Screenplay Oscar for Get Out, the screenplay for Us is a masterclass in script writing, expertly laying breadcrumbs throughout the early scenes that you don’t recognise at the time, while also weaving recurring themes into different scenes, and providing clues only to then lead audiences in different directions. Us is a film I want to see a second time already, as I know there was so much hidden meaning in the first half that you only realise is there once you know the revelations from the second half. But on top of the intelligence of the screenplay, it’s also laugh-out-loud funny in place, as Peele handles the comedy moments perfectly in order to relieve but never dissipate the tension.
For a second-time director, Peele is assured and distinctive – not only managing to balance the tension and the humour, but also incorporating visual clues throughout, as well as some thematic shots which are simply beautifully composed. I also wanted to mention Michael Abels’ score, and his haunting orchestral arrangement of Luniz’ “I got 5 on it”.
“…the depth that Lupita Nyong’o brings to her dual roles is incredible…”
Peele has also assembled a cast which is universally amazing – especially Lupita Nyong’o in her dual roles as the traumatised everywoman Adelaide and her doppelgänger, Red. Without going into details, the depth that she brings to both roles is incredible. Winston Duke (following on from his impressive big-screen debut in Black Panther) and Elisabeth Moss are also both great as Adelaide’s husband and friend, but I want to also praise Shahadi Wright Joseph and Evan Alex who play Adelaide’s and Gabe’s children – I’m normally not a fan of child actors, but they were both really impressive.
All in all, it’s clear that Jordan Peele is a talent to be watched closely, and if you enjoyed Get Out, you should enjoy Us. That said, it’s a very different film from his first film – Get Out was narratively tighter (meaning that it made more sense and left fewer unanswered questions), but it also had a more overt subtext (if that’s not an oxymoron). Us leaves a lot more for the audience to fill in for themselves (or asks them to simply suspend their disbelief), but in return, offers up an allegorical tale that audiences will be picking over for quite some time.
