REVIEW: Us

Courtesy of Universal

Usually after a press screening, I’m able to start hammering away at my review as soon as I get home. It’s a long drive from Atlanta to Carrollton, so that gives me plenty of time to organize my thoughts and figure out what elements of the film I want to focus on. That was decidedly not the case with Us, writer-director Jordan Peele’s creepy, fascinating and downright weird follow up to Get Out.

In fact, I remember my first words as soon as the screen faded to black and the credits began to roll. Here they are, in their entirety: “I mean… I just… what?” Putting that master’s degree in English to work, ladies and gentlemen.

It’s not that Peele’s horrific tale is impossible to understand. The plot is relatively straightforward and the most crucial questions are answered by the end. In fact, I figured out the biggest “aha!” moment quite early. Us is difficult to write about for a couple of reasons.

Primarily, one viewing isn’t enough to fully unpack everything Peele is trying to say. Don’t get me wrong: this isn’t a message movie, full of sermonizing metaphors (although a bleak Bible verse does come into play) or explicit political references. I’m sure viewers can dive deep enough to analyze the film through those lenses, but even a surface level observation demonstrates each scene is so packed with meaning that repeat viewings aren’t just encouraged, they’re required.

Second, it’s tough to talk about which elements of the movie work (a lot) and which ones don’t (very few) without immediately diving into spoilers. The best approach is probably to stick with what’s revealed in the film’s terrifying and incredibly effective trailer.

Us primarily focuses on Adelaide Wilson (Lupita Nyong’o), who arrives at a Santa Cruz beach house on vacation with her husband Gabe (Winston Duke) and their two kids (Shahadi Wright Joseph and Evan Alex). Still recovering from a strange childhood trauma, she senses a growing number of strange coincidences beginning to pile up, which only elevate her paranoia.

Gabe tries to rationalize with Adelaide, suggesting she might be feeling this way because it’s her first time at the beach since the incident. However, her fears are validated when their home is attacked by another family that looks exactly like them, dressed in red jumpsuits and wielding sharp golden scissors. In order to protect her husband and kids, Adelaide must figure out where these doppelgängers came from and – more importantly – what they want.

If nothing else, Us proves Peele is far from a one-hit wonder. This is no sophomore slump, proving he’s got plenty of stories to tell and unique, creative ways of doing so. Still, it’s important to emphasize this movie isn’t Get Out 2.

Us is much different in narrative and tone. It still has some interesting points to make about modern culture and sneaks in some sci-fi elements, but the filmmaker’s debut was a hybrid of thriller and ultra-dark comedy. This one is firmly rooted in the horror genre.

The change doesn’t make Peele’s latest better or worse, just different. Viewers assuming it will be more of the same should modulate their expectations to avoid disappointment. It reminds me of The Shining in regards to its dream logic and atmospheric horror. (Such a lofty comparison isn’t an accident – it’s one of the films Peele recommended that Nyong’o watch before they started shooting.)

The story itself, although creepy and unsettling, isn’t the driving force of the terror. That comes from Peele’s confident direction and inspired camerawork (he was already good, but he got even better between films), as well as Mike Gioulakis’ rich cinematography. Michael Abels’ haunting score is also a vital contribution, particularly a climactic sequence set to an unbelievable orchestral version of the ’90s hip hop classic “I Got 5 on It.”

Of course, the film’s most prominent strength is the mesmerizing performances by Nyong’o and Duke, each playing dual roles. Peele’s screenplay required them to deliver a wide range of emotions, live in the heads of dramatically different characters and endure a number of physically demanding sequences.

They both deliver, as do Joseph and Alex, but Nyong’o is the clear standout. Get Out got several Oscar nominations (including a win for Best Original Screenplay), so I don’t think it’s ridiculous to suggest she might be our first Best Actress contender of 2019. She’s just that good.

While Us likely won’t please everyone, especially those seeking more of the same from Peele, I loved it. Now I just have to see it again to get a better sense of why I feel that way.

Us is rated R for violence/terror, and language.

Grade: B+