By Matthew Barnes, contributing critic
If you ever watch Comedy Central, you’ve probably heard of the popular sketch show, “Key & Peele.” In the show, Keegan Michael-Key and Jordan Peele come up with goofy stories and are widely regarded as fantastic comedic actors. In 2017, Peele came out of nowhere as a director and writer and surprised the industry with his suspense thriller “Get Out.” His freshman effort was praised by critics and audiences and collected four Oscar nominations. In just one film, Peele established himself as a first-class talent in the industry.
Three months ago, I stumbled upon a trailer for “Us.” When I found out it was another Peele film, I knew I had to see it opening weekend. The trailer floored me with its creepy plot and haunting soundtrack, and the movie became one of my most anticipated of the year.
Going into this film, I had high expectations. With performers like Lupita Nyong’o and Winston Duke, the same composer from “Get Out” and a filmmaker like Peele, I expected this movie to deliver. But it’s not what I had counted on — it’s actually better. Anyone claiming Peele had beginner’s luck on his first go-around has been enlightened; he is making quality horror films with actual depth, and Hollywood needs more.
For those who are unfamiliar with the project, “Us” is about a family who moves into a summer vacation home in Santa Cruz and is then invaded by a group of intruders who look exactly like them. The family must fight to survive and figure out where these look-alikes came from.
With “Get Out,” Peele blends horror elements with social commentary about racial issues in the country. While “Us” seemed both entertaining and creepy, I wasn’t sure if Peele was going to inject a deeper message into the film. Even though it is probably more of a traditional horror flick, I would argue this film has even more to say from a thematic standpoint than its predecessor. Peele loads this movie with metaphors and symbolism, making an incredibly layered film that urges a second viewing. It feels like a rare piece of cinema where every frame serves a purpose, which is a testament to the brilliant screenplay.
From a technical standpoint, “Us” is astounding. Peele positions the camera in some fantastic angles that depict the action perfectly. The musical score elevates the tension of every scene. The production design is also very unique, leaving viewers with some memorable imagery.
Despite all of these strengths, my favorite element of the movie is the acting. Because the intruders look identical to the leads, these actors and actresses had to play two roles, and each performance was exquisite. Duke is relatable and adds some much-needed comic relief, and the child actor performances are surprisingly realistic. But the spotlight shines brightest on Nyong’o, who is flawless in her role. Her doppelganger, Red, is extremely different from her main performance as the mother, Adelaide, which is a testament to her acting range. She has this intangible gift on screen that makes her stand out in every one of her films, and this one is no different. I hope the Academy does not forget about her next February during Oscars season.
I’ve never been a horror fan, mostly because most modern horror films are so unoriginal. It feels like Hollywood has run out of unique ideas with this genre, so it just keeps putting out these throwaway films that lack substance. They follow the same clichés, such as a woman being killed in a bathtub, or easily predictable jump scares. I have respect for some older horror movies because, while I still don’t love the content, at least their storylines are original.
I can gladly say that there is hope for modern horror with Peele in the arena now. In interviews, he has praised some of the early directors who have inspired him, such as Alfred Hitchcock and Steven Spielberg. I can see how their styles have affected his, and he is hitting the right combination of Hitchcock’s eerie nature with the big box-office fun of Spielberg. If he keeps following this winning formula, he will go down as a historic filmmaker.
