What is the difference between the lines that divide us and connect us? A line can be a form of communication or it can be a separation between two sides. It can be a line in the sand that you can’t cross or it can be a line that connects two points. It’s a word with multiple implications that represents the duality of the very things it connects or divides. In Jordan Peele’s US, lines and duality are echoed through the inclusion of two ordinary items: mirrors and scissors. One creates a connection between the self and the reflection, the other serves to separate one item from another. And yet, the mirror can break and the reflection splits, and the scissors only function when two halves come together. Like the line, both represent division and connection simultaneously.
Jordan Peele already held a mirror up to the cultured, open-minded white Americans in GET OUT, and asked if they were going to ignore their own passing comments that add to the larger systemic problems with race in America. With US, he doesn’t just hold the mirror to the white faces suddenly blindsided by their own shame, but to all of privileged America. All of us, regardless of skin tone, who have been privileged to ignore those in the class below us; those whose voices aren’t heard and whose actions are seen as meaningless in society. Despite what some may think, the human connection to people across all classes exists even if some fail to acknowledge it.
GET OUT and US are both horror films that bring deep-rooted cultural issues to the surface, but US is much more subtle and less-incendiary in its approach. While the visual metaphors of mirrors and doppelgangers show how we’re all one-in-the-same, the message is more nuanced and harder to read. It’s a film that sprinkles in questions about political revolution and the class system amid tense stand-offs and shocking scenes of carnage. This might frustrate some looking for the culture shock that GET OUT provided but results in a film that will no doubt be studied and deconstructed for years to come.
After a chilling opening set in a carnival at night that perfectly sets the mood for the film, the story reveals a woman (Lupita Nyong’o) and her family returning to the beach that left a haunting impact on her as a child. What starts as a sunny getaway quickly turns into a nightmare for her and her husband (BLACK PANTHER’s Winston Duke) and two children (Shahadi Wright Joseph, Evan Alex) when their doppelgangers mysterious show up in the driveway one night. The arrival of these strangers triggers a series of terrifying events and revelations.
Much like Wes Craven’s THE HILLS HAVE EYES where a family vacation triggers a series of incidents where the protagonists have to look inward to defeat enemies, each family member in US has to defeat their own demons in order to battle… well… “themselves.” The daughter has to put down the iPhone; the son has to use intellect instead of his magic tricks; even the dad has to realize that money isn’t going to buy him happiness (though his new boat does come in handy). Most importantly is the journey of Lupita Nyong’o. She has to overcome her past trauma and become the strong one to lead the way for her family. But like the heroes in Craven’s grindhouse classic, she in many ways turns into the violent aggressor that she’s fighting. Even her son looks at her apprehensively at one point because her white garment becomes soaked in blood – turning her outfit into the red jumpsuit like that of the enemy.
Like GET OUT, Jordan Peele hints at a bigger world but still keeps it relatively small and claustrophobic. This allows for the central characters to shine. Winston Duke hilariously captures the awkward dad that’s trying to be cool. He walks the line perfectly without taking it into a caricature, providing many laugh-out-loud, tension-breaking moments. Despite a well-rounded cast that all leave their mark, the film is led by a powerhouse performance by Lupita Nyong’o. The role demands her to flex her emotional and physical acting chops. She transitions seamlessly from a woman dealing with past trauma to someone forced to protect her children. Even amid the chaos of the home-invasion-turned-chase story in the second and third act, Peele always has fun with the audience. His approach to horror and violence never feels over the top or mean-spirited. US is not a marathon that puts audiences through the wringer, but more of a journey through a funhouse complete with things popping out, nervous laughter, and reflections of ourselves.
Mike Gioulakis, best known for his striking cinematography in IT FOLLOWS and this year’s GLASS, lends the film a stark look with long shadows and a minimal color palette so that the red jumpsuits of the late night visitors pop off the screen. While GET OUT might have more iconic scenes, US has more iconic shots. Nothing proves this more than the final standoff. The tense sequence is masterfully filmed and intercut with gorgeous, unexpected footage. The beauty of the film balances the brutality. Peele’s decision to go with Gioulakis – a different cinematographer than his last film – shows that he’s continuing to sharpen his teeth as both a storyteller and filmmaker.
US opens with footage of the 1986 “Hands Across America” event playing on the television. In real life, despite the good intentions, the event became a symbol for the hypocrisy of how America has handled homelessness in this country. Outspoken people gathered hand in hand with their neighbors from the Atlantic to the Pacific to raise $50 million for the poor – each person in line was supposed to donate $10. The event cost $16 million to execute, and after expenses were paid, only $15 million was donated to charities. It became an empty, symbolic gesture with a message that fell on deaf ears. In 2019, there is still a sense of apathy in this country. What doesn’t directly affect us can be ignored. When you are living with even the most modest sense of wealth, you can afford to look the other way; you can avoid those who remind you of wealth disparity; you can mute their cries for help. While US might not have the same eye-opening effect that GET OUT left audiences, Jordan Peele, once again, successfully blends thrills with a message. It cements his standing as a master in “social horror” and serves as a reminder that a horror film that holds a mirror up to our society will always connect with audiences.
Overall score: 4 out of 5
US opens in theaters everywhere March 22
