US is the latest film from Jordan Peele, a storyteller whose freshman directorial effort GET OUT showed the “Key and Peele” funny man in an entirely new light. With his latest movie, Peele admirably avoids repeating himself by way of a “Twilight Zone”-inspired allegory that, at times, boldly and provocatively suggests we are our own worst enemy. But even though US is classified as a horror movie, it should be noted that this film is more trippy and funny than straight up scary. This isn’t to say there aren’t creepy moments, but US isn’t the scare-per-minute shocker the trailer suggests.
As US opens, the Wilson family are en route to Santa Cruz (home of THE LOST BOYS) for a much needed vacation. While poppa Gabe (Winston Duke) and little ones Zora (Shahadi Wright Joseph) and Jason (Evan Alex) couldn’t be any more excited, matriarch Adelaide (Lupita Nyong’o) seems a little more reluctant in regard to her family’s destination, and with good reason. It seems that years earlier, when she was just a little girl, Adelaide had quite the traumatic experience at one of Santa Cruz’s Boardwalk funhouse attractions, and this eerie, sinister incident has stuck with her well into adulthood. Still, mom soldiers on in the name of keeping her loved ones happy.
Ultimately, a day at the beach with friends Kitty (Elisabeth Moss) and Josh (Tim Heidecker) followed by an evening at their beach side abode prove to be just what the doctor ordered. Until… The Wilson family’s life is plunged into a freakish nightmare brought on by the arrival of a family of seemingly evil doppelgängers!
As was the case with GET OUT, Peele is working with elements that might seem familiar. At a glance, you may notice shades of “The Twilight Zone,” DAWN OF THE DEAD, THE SHINING, INVASION OF THE BODY SNATCHERS, THE SIXTH SENSE, IT FOLLOWS, JAWS, and many of the works of John Carpenter (most notably, the underrated PRINCE OF DARKNESS.) There are are also aspects of this film that are a bit reminiscent of 2014’s creative doppelgänger romance, THE ONE I LOVE which, interestingly enough, starred US supporting player Elisabeth Moss. Of course, Peele takes all of these elements, along with a healthy dose of social commentary, and weaves them into something fresh, unexpected, creepy, offbeat, weird, and at times, pretty darn funny. All of that said, US may leave some viewers a little frustrated. More on that in a moment.
The performances in US are well worth noting and it helps that the leads are given the opportunity to have a little extra fun by way of playing duel versions of their respective characters. Duke livens the proceedings as both the affable Gabe and his lumbering, grunting counterpart. Evans does a good job displaying the utter terror of Jason’s situation as well as showcasing the startling viciousness and animalistic physicality of his far less sweet-natured other self. Joseph is terrific as a scared but fiercely independent teen, but she’s even more effective as Zora’s cold and terrifying mirror image.
As entertaining as these performances are, US belongs to Nyong’o whose mesmerizing and emotionally resonant work as both Adelaide and her gravelly voiced doppelgänger are so good, that I’d be awfully surprised if she isn’t remembered come Oscar nomination day next January. From her unforgettable turn(s) in US to the undeniably sunny disposition she displays in the upcoming irreverent zombie comedy, LITTLE MONSTERS the stunning Lupita Nyong’o is poised to have one hell of a year.
So, with all the positives here, you’re probably wondering if there are any missteps in Peele’s sophomore effort? While that question is certainly open to debate, those who find the lack of explanation in this picture frustrating and maddening certainly aren’t wrong. As a director, Peele delivers. US is well shot, it has an effective build, the family dynamic is instantly relatable, and the plot goes well beyond the home invasion set up. Further still, US is punctuated by a nifty (and fittingly provocative) twist.
The fact remains, though, that come the end credits, some viewers will be bothered by the fact that they’ve been left with more questions than answers. Particularly where the doppelgängers are concerned. To that end, it’s clear that, as many supporters of US have been quick to suggest, this movie is more about the “why” than the “how.” This is to say that where these doppelgängers come from and how they function in the place from which they came isn’t as important to Peele as what they represent.
I’m all for ambiguity and the provocative nature of mysterious questions unanswered but from where I’m sitting, even though I like the “why” at the heart of this film, I’d be lying if I said I didn’t want a few more answers myself. That said, there’s no doubt that Peele is quite the exciting filmmaker. US touches on some pretty hefty themes including, among other things, the homeless epidemic and slavery. But it shrewdly encapsulates these themes in the kind of freakish outer horror shell that would make storytellers like George A. Romero proud. It may not always hit the mark but with solid direction, creative performances (most notably a stellar Nyong’o), and a zany shifting of tones, the flawed but entertaining and thought provoking US sets out to define what it means to be human.
