US (2019) – CINEMA REVIEW
Directed by: Jordan Peele
Produced by: Jason Blum, Ian Cooper, Sean McKittrick, Jordan Peele
Written by: Jordan Peele
Starring: Lupita Nyong’o, Winston Duke, Elisabeth Moss, Tim Heidecker, Shahadi Wright Joseph, Evan Alex etc.
Music: Michael Abels
Cinematography: Mike Gioulakis
**MAY CONTAIN SPOILERS**
Orson Welles is reportedly quoted as saying, “A movie in production is the greatest train set a boy could ever have.” Thus, Jordan Peele proves this point with an unstoppable cinematic train ride in Us (2019); that while threatening to career off the rails on occasions, proves to be a thrilling work of horror-meets-social-satire entertainment.
The film centres on an everyday normal family of four — the Wilsons: Adelaide (Lupita Nyong’o), Gabe (Winston Duke), and their two children — as they visit their summer home by the beach. Haunted by a scary incident in a hall of mirrors when a child, Adelaide is afraid to return to the beach where it occurred, until her husband’s goofy enthusiasm wins her over.
Events begin to turn and twist askew when their son, Jason, seems to go missing for a while. Even though he returns, paranoia and fear sneaks into Adelaide’s psyche. Things become even stranger when a mysterious family of four appear in the Wilsons’ drive in the dead of night. This is when the true face of horror surfaces and a pulsating home invasion and prolonged chase sequence ensues.
Peele has clearly seen a lot of horror films. As such the early scenes build tension perfectly with: stormy weather; a strange drifter with biblical sign haunting the boardwalk; creepy hall of mirrors; the choral soundtrack reminiscent of Rosemary’s Baby (1968); the son, Jason wearing a Jaws (1975) movie t-shirt; the flock of seagulls on the beach echoing Hitchcock’s The Birds (1963); and so it goes.
Such horror tropes build a huge wall of tension so effectively it’s almost a relief when released during the big doppelganger reveal. Subsequently, the blood-letting ensues in some meaty fights and exchanges involving weapons, such as: baseball bats, metal pokers, ornaments and golf clubs. The doppelgangers themselves are clearly a reflection of the self; twisted visions of humanity turning against the characters, as they literally become their own worst enemies.
The cast are expertly marshalled by Peele, as he gets doubly great performances from all the actors. The logistics of shooting doubles must have been tough, especially so many at a time. The featured cast are very good, notably Winston Duke as Gabe Wilson. He offers some light, comedic and physical humour amidst the gore. Meanwhile, Lupita Nyong’o steals the show in the dominant twin roles of Adelaide and the nefarious Red.
It’s Adelaide’s personal journey of double/split identity which provides the spine of the film. As she fights to save her family she must also literally battle the demon inside and outside herself. This thematic is the most powerful of the film for me, as Nyong’o’s acting is full of emotional resonance.
Perhaps, not as successful, when compared to Get Out, is the attempt to marry the personal conflict to the socio-political landscape. While Peele’s first film was an overt satire of slavery and white America oppression and exploitation, Us’ targets are intellectually more ambiguous and open to interpretation. I mean take your pick from: class, capitalism, consumerism, race, de-politicization, narcissism, over-population, split personalities, government conspiracies; and over-arching fear of ‘the other’.
These and many more themes are on Peele’s radar, as is his overall critique of the United States (U.S. = US – geddit!). That they don’t quite gel coherently is not a criticism but a positive indictment of his ambition. Conversely, while I felt the underlying power of Peele’s call-to-arms and desire for human unity in Us, one could argue the fire, smoke and mirrors of these ideas subtract from the power of the families’ personal struggle. Moreover, what is the solution to the government copying us or burying our doubles underground? Is it to kill the others and hold hands in unity? Who knows? What I can say is such naive idealism in horror has never been so entertaining.
After the success of the slavery-soul-swapping and genre bending thriller, Get Out, Jordan Peele has tasked himself with trying to top that fine movie. Well, if Get Out was the starter, Us is the main meal. In fact, one could argue the film is so full of ideas that it threatens to fail due to sensory overload. However, Peele is such a multi-talented storyteller he skilfully delivers, wholly thanks to great writing, masterful film production, an exceptional soundtrack and an incredible cast.
Mark: 9.5 out of 11