{"id":4424,"date":"2016-04-12T06:28:49","date_gmt":"2016-04-12T00:58:49","guid":{"rendered":"http:\/\/13.201.39.237\/?p=4424"},"modified":"2026-07-17T21:04:14","modified_gmt":"2026-07-17T15:34:14","slug":"us-review-jordan-peele-lupita-nyongo-america-get-out","status":"publish","type":"post","link":"http:\/\/13.207.105.184\/?p=4424","title":{"rendered":"Us Review: Jordan Peele Crafts A Haunting Tale About the Horrors that Lie Within America"},"content":{"rendered":"\n

J<\/span>ordan Peele\u2019s unnerving survival horror outing,<\/p> Us<\/span><\/i> opens in 1986 America when Adelaide, a young black girl (Madison Curry) wanders away from her parents while visiting a boardwalk carnival on California\u2019s Santa Cruz beach. A candied apple in hand, she ventures inside a funhouse and comes upon a hall of mirrors that provide the setup for the film\u2019s central deceit. At the time, the funhouse is called \u201cShaman Vision Quest\u201d accompanied with a caricaturish Native American figure. Years later, when a grown up Adelaide (Lupita Nyong\u2019o), a married mother of two, revisits the beach, that funhouse has been rechristened \u201cEnchanted Forest\u201d, betraying no memory of its oppressive origins. <\/span>\n\nIt\u2019s the first clue that the Oscar<\/a>-winning writer-director offers about the movie\u2019s thematic preoccupation with cultural consciousness, exploring how the fickle memory of the present willingly suppresses the ugliest moments of our past. The apocalyptic and biblical <\/span>Us<\/span><\/i> (the film references Jeremiah 11:11 before key scenes) is primarily invested in uncovering what is at stake when our fractured past \u2013 our \u201ctethered\u201d self residing in tunnels \u2013 unleashes itself on a society that doesn\u2019t want to recognise it anymore.<\/span>\n\nWhen young Adelaide finds herself inside the hall of mirrors, she doesn\u2019t just witness reflections but also a version of herself: a doppelganger. The encounter traumatises her for years, rendering her paranoid and almost incapable of surviving without looking over her shoulder. But Peele doesn\u2019t immediately tell us what transpired between the two doubles that evening, cutting instead to a sensational credit sequence that amps up the curiosity. <\/span>\n\nIt\u2019s this seething mystery of the night that comes to haunt Adelaide in present-day America when she is on vacation with her goofy husband Gabe (Winston Duke) and children, Zora (Shahadi Wright Joseph) and Jason (Evan Alex) at their family beach house near Santa Cruz. It\u2019s then, that <\/span>Us<\/span><\/i> \u2013 unfolding deliciously while toppling the tropes of a home invasion thriller \u2013 and its allegories about doubles and the divided self become clear. After a visit to that same beach, the family finds itself stalked by their creepy, murderous dopplegangers. <\/span>\n\nDressed in red overalls (almost resembling prison clothes), these doppelgangers hold hands and stand still in the Wilson\u2019s driveway for a few suspenseful minutes before invading their living room armed with scissors. They look just like each of the Wilsons, albeit repressed versions with animalistic tics and demonic grins. Adelaide\u2019s doppelganger, Red (a frightening Lupita Nyong\u2019o) is the only double who can speak (the reason behind that is revealed only in the astonishing final minutes). But even then, her hoarse voice seems tortured and her words as a result, are mechanical; the rest of them communicate in croaking yells. <\/span>\n\n\"Us\n

\n

Us<\/em>, like Get Out<\/em>, is about the ramifications of oppression.<\/p>\n

Monkeypaw Productions<\/p>\n<\/figcaption>\n<\/figure>\n\nNyong\u2019o, a remarkable performer, inhabits her two roles with such distinct single-mindedness (a ballet sequence harks back to <\/span>Black Swan<\/span><\/i> with a fluid and ingenious assault set-piece) that her mere presence elevates the serpentine moral and political universe of <\/span>Us<\/span><\/i>. If <\/span>Get Out<\/span><\/i> looked outward while exploring the sweep of racial tensions in present-day America, <\/span>Us<\/span><\/i> looks inward at the part of our collective identities that we\u2019re willing to discard, unaware that they might lead us instead to self-destruction.<\/span>\n\nUs<\/span><\/i>, like <\/span>Get Out<\/a><\/span><\/i>, is about the ramifications of oppression and possession. In that sense, <\/span>Us<\/span><\/i> \u2013 the title can also be read as U.S. \u2013 can\u2019t not concern itself with America: its appearance of unity and its constant othering. Within minutes of meeting her double, Adelaide asks, \u201cWhat are you?\u201d and pat comes the reply, \u201cWe\u2019re Americans.\u201d In fact, one of the film\u2019s main leitmotifs hinges on a performative show of solidarity \u2013 the 1986 charity drive, \u201cHands Across America\u201d, an anti-poverty campaign where Americans raised money for the homeless by holding hands from coast to coast. <\/span>\n\nAt the time, President Ronald Reagen held hands in front of the White House while his government was being criticised for cutting short programmes designed for the homeless. Peele uses this landmark event to not only signify the divisiveness that comes to the fore once the mask of unity is peeled, but also connects it to the present. <\/span>Us <\/span><\/i>ends with a spectacular shot of the oppressed doubles holding hands to recreate the \u201cHands Across America\u201d campaign. But now, it\u2019s an act that under the Trump administration, acquires sinister meaning. <\/span>\n\nAs <\/span>Get Out<\/span><\/i> made evident, Peele can be regarded as an attentive filmmaker with the mind of an anthropologist. <\/span>Us<\/span><\/i> doesn\u2019t just further that reputation, but also cements the expansive scope of his ambitions. Through the film, he builds and sustains suspense, while excavating the boundaries that we, as individuals and nations hurriedly draw within ourselves to maintain a social order. Peele questions that very order with his theory of aboveground and underground halves making up a whole, as well as challenges it: In <\/span>Us<\/span><\/i>, for instance, it\u2019s Adelaide, a black female protagonist, who is its lead, saviour, and villain \u2013 there\u2019s no place for \u201cwhite saviours\u201d (Although, Elisabeth Moss delivers the year\u2019s creepiest make-up routine). <\/span>\n\nUs<\/em> is steeped in pop-culture references (It evokes The Shining<\/em> in more than one place and the protagonists wear \u201cJaws\u201d and \u201cThriller\u201d t-shirts) that all point towards its larger cultural lexicon of inner demons. It remains unusually busy in a way that catching up with its ideas can sometimes feel like an exercise that hinders the process of experiencing them. For instance, it’sthe film\u2019s final reveal that holds the key to its larger puzzle, even though Peele doesn\u2019t worry too much about tying up all the disparate threads of <\/span>Us<\/span><\/i>\u2019s details. The delayed arrival of this twist \u2013 no less than a punch to the gut \u2013 might make the experience of deciphering <\/span>Us<\/span><\/i> and mapping its numerous Easter eggs almost unrewarding without a second viewing. But it doesn\u2019t make the film and Peele\u2019s vision any less extraordinary. <\/span>\n","protected":false},"excerpt":{"rendered":"

Jordan Peele is an attentive filmmaker with the mind of an anthropologist and there\u2019s ample proof of it in Us. The movie is primarily invested in uncovering what is at stake when our fractured past unleashes itself on a society that doesn\u2019t want to recognise it anymore.<\/p>\n","protected":false},"author":103,"featured_media":4427,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[82],"tags":[3947,3950,7869,112,7870,7871],"class_list":["post-4424","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-pop-culture","tag-get-out","tag-jordan-peele","tag-lupita-nyongo","tag-us","tag-us-review","tag-winston-duke"],"yoast_head":"\nUs Review: Jordan Peele Crafts A Haunting Tale About the Horrors that Lie Within America<\/title>\n<meta name=\"description\" content=\"Jordan Peele is an attentive filmmaker with the mind of an anthropologist and there\u2019s ample proof of it in Us. 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