It’s unfair, but unfortunately inevitable for people to compare Jordan Peele’s new film, Us, to his electric 2017 debut, Get Out, simply because they are two horror films made by the same guy. They both operate on wildly different wavelengths. Get Out is a polished crowd pleaser making clear, eloquent, and thoughtful statements about race in America. Whereas Us is a far more moody film, full of big ideas, and ambitions that throw many things at you, some sticking harder than others. It’s a tad messy, but a purposeful one that ends up adding further unease as you watch the events unfold.
The film follows a family going to a beach house in Santa Cruz for the summer. We have the husband, Gabe (Winston Duke), his wife, Adelaide (Lupita Nyong’o), and their children, Zora (Shahidi Wright Joseph) and Jason (Evan Alex). Things seem to going just fine, despite some concerns of Adelaide, who is remembering past trauma from the beach. At least, things are fine, until their home is invaded one night by a group of doppelgängers who look identical to them.
Like I mentioned, the approach of this movie is quite different from the likes of Get Out, and that’s especially noticeable in the storytelling. Get Out was the kind of film where nothing seemed wasted, every line, every moment, every detail, every character beat was given some kind of payoff or layer of meaning. There are a few details and threads that I don’t think had as much purpose, but there are still numerous clever setups and payoffs in Us, but it’s also a far more indulgent film, it lingers more, it digresses a bit more, and a few beats sacrifice consistency for more shocking and striking thrills, which is perfectly fine if it’s effective, which it most definitely is.
And that’s because Jordan Peele’s craftsmanship behind the camera is as on point as one would hope. It’s precise and calculated, but almost effortlessly so. He does a wonderful job at setting an ominous mood, while also tapping into the humor that we all know him for. It’s a funny film that uses the same uncomfortable, awkward style of humor that was in Get Out, where it seemed like laughter was the only way you could react to something so ridiculously horrific. The tension is well done, the violence packs a punch, and both needle drops and the music from composer, Michael Abels, is super effective.
Thematically, I don’t think it’s quite as cohesive as it could’ve been. There are details that I found more challenging to pin down, and some that didn’t seem to have as much significance as I thought. There are reveals that I think answers the big questions a bit too literally when it could easily be afforded some ambiguity. From my understanding, the film was ultimately about how society often ignores the experience of marginalized communities, while at the same time making empty gestures that do nothing to really help those in need. It’s interesting, but seemingly too broad. Though, I’m open to the idea that some things will become more clear upon revisits, which this one demands far more than Get Out did.
The cast is excellent across the board, from the main family to some friendly supporting players including Elisabeth Moss, Tim Heidecker, and Yahya Abdul-Mateen II. However, the real star is undoubtedly Lupita Nyong’o, who delivers a performance so emotionally involved, so bold in its swings, and effective in delivering empathy, terror, and comedy with pure physicality, occasionally doing all at the exact same time, that it will be infuriating if her name isn’t thrown into the mix come awards season.
If you were hoping for experiencing the same thrill that you got from Get Out, check your expectations right at the door. Us is not quite as refined as Get Out, but with this film, writer/director, Jordan Peele leans on some of his weirder, more ambitious, more savage impulses as a storyteller. It’s messier, but its vision is so distinct, its blend of horror and humor is so idiosyncratic, and the filmmaking is so viscerally thrilling from moment-to-moment that any nitpicks I could have didn’t really matter once it is all said and done. If nothing else, it solidifies Jordan Peele as one of cinema’s most compelling new voices.