Us Review

Two years ago, Jordan Peele announced himself as more than just a comedian. His 2017 debut Get Out not only won Peele an Oscar for Best Screenplay, but also redefined how the horror genre could inventively tackle relevant social commentary. Get Out was a unique blend of psychological horror, political satire and family comedy; a version of Look Whose Coming For Dinner if it happened in the Twilight Zone . His meteoric rise as a director made many question if Get Out was just lightning striking down for Peele, eager to see what he would do next. With his sophomore effort Us now here, it has become clear that if it was lightning striking, Peele has managed to bottle it, as he once again creates an insidious world brimming with tension and lore.

From the very beginning of Us, it’s clear that it is a much different film than his debut. Peele leans more towards conventional horror, as he wastes no time constructing a lingering sense of dread through Michael Gioulakis’ deeply layered and atmospheric lighting. Paired with the haunting score of Michael Abels that consists of hypnotic tribal percussion, screeching string sections and R&B throwbacks, the result is a gripping and original horror story that is rich in depth, and an absolute masterclass in exposition and foreshadowing.

Us follows the Wilson family: mother and father Gabe and Adelaide, their daughter Zora, and son Jason. Together they are on their holidays in Santa Cruz to spend time at Adelaide’s beachfront home from when she was a kid. Haunted by a traumatic experience from her childhood, Adelaide starts to become anxious that something bad is going to happen. Her worries are validated when 4 visitors in red jumpsuits arrive uninvited. The situation become stranger when the intruders reveal they are exact copies of the family.

Peele has an uncanny talent of creating an unnerving aura in his scenes. Much of this is accredited to his attention to detail and his ability behind the camera. Other than claustrophobic closeup shots that are becoming a trademark tool for Peele, the camera is almost never stagnant, always creeping to or from its focal point. Peele has an eye for suspense that’s comparable to Alfred Hitchcock, and nothing shows this more than his newest feature. Full of secrets and symbolism, Us is a clever and rewarding watch, showcasing near perfect visual storytelling that craves and rewards multiple viewings.

Enough cannot be said about the performance of Lupita Nyong’o either, she is impeccable as both the worrisome Adelaide and her vicious mirrored self, Red. The opportunity to play both the hero and the villain allows Nyong’o to showcase her incredible range, bringing an intense array of emotions to both characters.

However, Us does have its faults. Peele’s comedic side sometimes gets the best of his writing. Some scenes feel overly comedic, breaking the emersion that Us would work so hard to create. Peele was able to tie humour beautifully into Get Out through a character that had little to do with the story, giving Peele the freedom to build the motivations and obstacles for the characters in a more serious way. In Us, much of the comedy relief is shared amongst characters that are too heavily involved in the plot. Ultimately, this results in jokes that feel out of place in contrast to what is happening around them.

Hitchcock once explained “There is a distinct difference between "suspense" and "surprise"“. Peele has taken this lesson in stride. Us creates a cold, calculated atmosphere that conjures a tone far more haunting than the hollow jump scares we are used to seeing from the modern horror genre. With Us, Peele has again stated that he is one of the most innovative and imaginative creators today.

Us is a visceral horror film overflowing with detail and imagination.

Produced By: Blumhouse Productions
Runtime: 121 minutes
Rating: R