Us Review

Jordan Peele made a real impact with his directional debut Get Out, a film that is a part of the current horror renaissance. His follow-up film was highly anticipated and has already been praised by critics.

Adelaide Wilson (Lupita Nyong’o) is a woman who suffered from a traumatic event when she was a child. Her past comes back to haunt her when her family goes to the family beach house in Santa Cruz – both mentally and physically. During the night the family is attacked by a group of doppelgangers.

Get Out was a highly regarded horror film because of its social commentary and Daniel Kaluuya’s excellent performance. Us had a lot to live up to and for the most part, it does. On a surface Us successes as a horror film. Peele knows how to make a film atmospheric and Us if filled with it – the thick tension could be cut with a knife.

Us has a slow start to build up so the audience gets to know the family. Once the doppelgangers appear is when the horror really begins. Peele made an unsettling film amplified by the performances of the doppelganger family. Nyong’o spoke with a raspy voice and delivers a haunting story. Whilst the rest of the family are unable to talk they are a sinister presence – Winston Duke could only grunt, Shahadi Wright had a creepy smile and Evan Alex moved like a monkey and purred like a cat.

Peele had Mike Gioulakis work as his cinematographer and reunited with composer Michael Abels. Gioulakis previous worked on M. Night Shyamalan most recent films Split and Glass and he does fine work with Us. He uses his favoured techniques of continuous shots and showing characters in the foreground as someone moves in the background. It adds to the build-up.

Abels gave the film a chilling score. The best piece of music was a creepy choir that reminded me of the anime series Kamisama Dolls when the titular dolls appeared. Or if you prefer a slightly more well-known reference then think of the chanting theme in Ghost in the Shell.

Peele came from a comedy background and like Get Out there were some humorous moments in Us. The film is far from comedy but these moments do raise a laugh and serve a purpose. The comedy establishes the family unit like the embarrassing dad, the sultry teenager, and the growing boy. Plus the comedic moments alleviate tension and Peele is following the old Hollywood adage ‘make them laugh, make them cry.’

Us is going to be a film that academics and students are going to analyse for a long time. Critic and horror expert Mark Kermode has already done this with his review for BBC Radio Five Live and takes ideas from mirror images to how affluent society is built on the backs of an underclass. It’s a sound talking point but the doppelgangers aren’t used as a labour force so undercutting it as an economic argument. The underclass argument can still work because doppelgangers are issued but a potential force if they rise up.

Us is a film filled with clues and symbolism and audiences are going to rake over every little detail. It is will lead to repeat viewings and it will possibly need a second viewing to allow audiences to truly appreciate the film. One of the great features of Peele’s screenplay is his ability to set up ideas early on and uses them later on – such as the opening images on the TV.

The twist in Get Out was black people were kidnapped and the consciousness of wealthy white people were placed in their bodies. It emulated films like Being John Malkovich and Seconds and it audiences could suspend their disbelief for the weird science.  When the backstory in Us is relieved it is harder to believe, even within the film’s mythology.

Us is an effective horror-thriller that oozes creepiness and is amplified by the talents of its cast. It’s not as groundbreaking as Get Out was but it can still proudly stand with its horror contemporaries like Hereditary.