Review of Us

Arriving precipitously placed in the shadow of its well-executed, subversive predecessor, "Get Out", Jordan Peele's multi-layered take on the adage "we are our own worst enemies" does fall short of eclipsing its edgier forerunner but succeeds in its scathing exploratory attack on the hypocrisies and paradoxes of the United States, the conjugal family unit and the incognizant nature of society. Peele's biting satirical verve adds an even creepier dimension to the themes explored in his films, but here they are less conspicuous and bluntly delivered to the audience as in "Get Out"; many of the allusions, motifs and symbols detract from the cohesion of the plot, which becomes increasingly convoluted and uneven towards the denouement. In punctuating the film with references as diverse as the Bible, Black Flag (Jeremiah 11:11, IIII - four) to Michael Jackson (duality) and horror movies (red boiler suit and glove/scissors reminiscent of Michael Myers and Freddy Krueger), Peele's derivative myriad of citations are the connective tissue of the eventual twist that once revealed is nowhere near as outré as it should be. In its current form, "Us", although not as witty, pervious or cogent as "Get Out", is an illustrious second entry in Peele's body of work, and although the final twist fails to truly satisfy, the unbearably creepy, foreboding feel, sharp comic relief and its fully-realized characters more than compensates for its plot and pacing pitfalls. Nevertheless, despite its faults, the faceted, diverting surface elements of the film usurp the coiled interpretive model that the script employs as it progresses; if you enjoy a pretentiously written and delivered horror film in the same vein as "Hereditary", then I would highly recommend it.