Jordan Peele’s scare-tastic follow-up to ‘Get Out’ delivers a terrifying twist and feels like an instant horror classic
Starring Lupita Nyong’o, Winston Duke, Elisabeth Moss & Tim Heidecker
Directed by Jordan Peele
A family’s beach vacation takes a terrifying twist in the new movie from writer-director Jordan Peele, who reminds us of the soul-shaking scares that can be waiting to pounce from places we’re least expecting them—or places we never want to look.
Like, when we see ourselves.
Us, Peele’s follow-up to his excellent Oscar-winning Get Out (2017), begins in the 1980s as a guileless young girl, Adelaide (Madison Curry), wanders off a boardwalk amusement park and has a traumatic experience inside a funky beachside carnival funhouse, a hall of mirrors—where she sees another little girl who looks exactly like her.
It’s unnerving and very creepy.
Now, some three decades later, Adelaide is all grown up (and played by Lupita Nyong’o), returning to the same California seaside town, Santa Cruz, for a getaway with her husband, Gabe (Winston Duke) and their kids, teenage daughter Zora (Shahadi Wright Joseph) and son Jason (Evan Alex). She’s still haunted by what happened on the beach, and so are we.
The family tries to enjoy the day with their friends (Elisabeth Moss of The Handmaid’s Tale and Tim Heidecker, and their two too-cool teenage daughters, played by twin sisters Noelle and Cali Sheldon). But a weird vibe is building, like the odd design on a Frisbee that gets tossed onto their blanket—and what’s with that eerie old guy in the filthy trench coat, who’s hanging around? Is that blood dripping off his fingertips?
And why did Jason draw a picture of him when he got home?
Then things really shift into creepy overdrive that evening. “There’s a family in our driveway,” says Jason. That one line sends shivers down the spine, because the “family” outside looks exactly like the family inside. They easily break into the house. They overpower Adelaide, Gabe and the kids. Things get violent and threatening.
The outside “family” moans like animals or talks in rasps and croaks. They move or flit about in bizarre, herky-jerky motions, or like robots. And they’re carrying big, sharp scissors—for something they call “the untethering.”
Where have they come from? Who are they?
“It’s…us,” says Jason.
Us is a horror show, for sure, with boldness, bite, brilliance, blood, substance and style. In Get Out, Peele melded gotchas with scathing social commentary, and he’s working on an even broader canvas here. This is a masterful, scarifying puzzle of a film that combines terror, humor, violence, pop culture, philosophy, religion and roasting riffs on consumerism, class, yuppie excess and American comfort zones. It’s a lot to unpack, and you’ve got to stick with it.
You may want to look up the movie’s repeated references (you’ll see it visualized at least twice) to the Old Testament verse Jeremiah 11:11. (It’s heavy.) If you’re old enough to remember the 1986 charity campaign Hands Across America, well, that will come in hella-handy. Did you know that there are hundreds of miles of unused tunnels, deserted mine shafts and abandoned subway systems underneath the surface of the United States? How can bunnies be creepy and cuddly at the same time?
This is a movie you’ll probably be discussing long after you see it; it’s got plenty of things to dissect—especially about the duality of human nature, our ids and egos and just where, and how, any of us might “find ourselves” if we went into a hall of mirrors—or dug deep enough into our pasts.
Though all of the actors pull “double” duty, also playing their dark-side doppelgangers, Nyong’o is a true revelation, raging with explosive survival instincts that can turn equally monstrous in either of her characters.
Peele, who got his start in comedy with the Emmy Award-winning duo Key & Peele, has now become a modern horror maestro. He nods to Kubrick, Spielberg and De Palma, but he’s clearly got his own footing and panache. On April 1, he’ll take over the vaunted Twilight Zone franchise for its reboot on the streaming service CBS All Access. If this movie’s any indication of where he might take it, I’m all aboard.
Some scary movies just scare you. This one rattles you good. Who are we? What do we see when we look in the mirror? Are we the “us” we think we are? Do the things we do to feel good—and prosperous, and comfortable—make someone else feel miserable, poor…and very angry? Are heaven and hell two identical twins that ended up on opposites sides of the same cosmic coin?
It’s a deep, dark dive into a movie-carnival funhouse of apocalyptic nightmares, where grim shadows lurk and dreams go to starve and fester—and an iconic, sunny summer song by the Beach Boys will forever sound more ominous because of how it’s used in one particular scene.
This is Us, a modern horror movie that has the feel of an instant classic, one that has staying power to shock and awe years or even decades from now, a horror film that suggests that the most monstrous monsters of all might be the monstrosities that are the easiest to overlook, bury or forget—until we’re confronted with them face to face. And those faces turn out to be our own.
In theaters March 22, 2019