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BBC – Culture – Film Review: We

The subclass comes to destroy us, and we will earn it. This is the simple, overarching message of Jordan Peele's funny meta-horror movie Us. The "we" with whom he joins the audience is an American family of four, the Wilsons, and "they" are their doppelgangers. The disempowered doubles lived in a mysterious place, cut off from the comforts of society. This other mother, her father, and two children appear one night in the Wilson's driveway, wearing blood-red overalls and big gold scissors to cut their colleagues better. The class struggle has rarely broken out with such a scary momentum.

Despite being blinded by a social theme, Us is different and less inventive than Get Out, Peele's amazing debut as a writer and director. This film was a devastating critique of racial assumptions and stereotypes surrounded by comic horror. Us reverses the formula and works best as a smart, intricately structured interpretation of the genre with a message that is simple but never profound. However, Peele is masterful in the horror field. Playfully, we use classic genres of the genre as they channel primordial fears. They can make you laugh and cower at the same time.

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] The movie begins slowly, so Peele gives clues as to what's to come , We are full of small visual touches and clues that repeatedly lead the viewer to find more. In the opening scene, which was launched in 1

986, the camera turns on a television commercial for Hands Across America, a real event where people from all over the country came together to raise money for the hungry and homeless. Anyone who has seen the movie trailer will immediately recognize the similarity between the event logo – a series of red cut out figures like paper dolls – and the red jumpsuited doppelganger.

Other references are darker. A homeless blond haired blond is holding a sign saying Jeremiah 11:11. He repeats himself through the film, but Peele leaves it to viewers to go home and look up the biblical reference on his shield. (It is daunting.)

It is first seen as a theme park where a little girl wanders into a hall of mirrors of a funhouse. There is a sign: "Vision Quest: Find Yourself", and that's exactly what she finds. Little Adelaide discovers her doppelganger and is scared of that day.

The minor differences in the doppelgangers are more alarming than exact duplicates would have been.

When the movie jumps into the present, Adelaide is Lupita Nyong & # 39; o. married to Gabe Wilson, who adds a comical relief as a sometimes forgetful guy who tells bad dad jokes. Her daughter Zora (Shahadi Wright Joseph) is always on the phone. Her younger child Jason (Evan Alex) inexplicably wears a mask on his head. You are in the family beach house convenient to the scene of Adelaide's childhood trauma.

The action begins when the double invades the house. Each of the actors has a dual role, and Peele has steered them with such a nuance that the slight differences – the faces of the doppelganger – no matter how violent they are – are more alarming than would have been the case with exact duplicates. The film revolves around Nyong & # 39; o, whose performance as a double is particularly scary. Her voice is croaking and halting, as if she had not spoken for years when she told a story about a girl who had "a shadow". This girl was a princess who found her prince and a happy life while the shadow was hungry and living in the dark. Joseph brilliantly displays the scary expression on her face as Zora's evil counterpart. Like Nyong's, the physical movements of their doubles are as quick and shocking as those of an animal.

The family defends itself against intruders in scenes that Peele creates with precise precision. They try to escape by boat and car. Adelaide beats the others with a Kaminpoker – always horribly close in horror movies. There are knife cuts with scissors reminiscent of Hitchcock. The melodramatic musical features, which draw attention to dangers in the style of old films, signal that Us is a meta-layer removed from these Hokey films, and that the urge to shout, "Do not go down this dark street alone " Trick knowledgeably set up Peele. Even though the scenes become a bloody mess, the film is always clear and cuts from wide shots of corpses to exciting angles seen from the perspective of besieged family members.

The film makes an unexpected, spectacular turn of style

Peele continues to increase the intensity of the action, but then the film takes on an unexpected, spectacular turn of style. When we almost understand the secret behind Adelaide's Funhouse encounter, the movie becomes more resourceful, almost surreal. The music is knocking and modern, and we see the young Adelaide and her double dancing in ballet. These scenes are reminiscent of the movie Black Swan and not to Slasher movies. The sequence is a revelation, proof that Peele can be an extraordinary filmmaker in a very different way.

Although Us bends into his genre, social themes remain as subtext. The Wilsons are black, but their race is not treated as a problem. The exception is a scene in which Gabe confronts the doppelgangers in the driveway and his grammar intentionally sounds deceptive, using the image of the menacing black as a trick. Even then, the film allows the viewers to infer the commentary on racial stereotyping.

Peele himself has bluntly explained the way the film relates to America. "This country and how this country looks to the world, we are afraid of the outsider," he describes his topic. "Nobody really wants to look at their mistakes, their guilt, their demons." In the end, Hands Across America, a well-intentioned event, was turned into a symbol of evil. The most terrible lesson from us: you could just be your own evil twin.

★★★★ ☆

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