Peele has been exposed to some degree with its own success, and the way "Get Out" tapped into the cultural moment while weaving in the midst of excitement. Nevertheless, this other effort works well enough to entertain the date-night audience, while reminding them that these kinds of movies are hard to consistently pull off.
The best and worst that "us" has to go for is related to the apparent simplicity of the concept. A family of four goes on holiday to the coastal town, where the mother Adelaide (Lupita Nyong & # 39; s dual role) experienced a childhood trauma whose memory remains weak.
In the film's most Adelaide, her husband ("Black Panther's" Winston Duke) and their two children (Shahadi Wright Joseph, Evan Alex) look out the window and see four characters silhouette in the driveway. As the characters come into focus, the boy notes that the people outside look as good, "us".
From there, Peele builds tensions on a really good tradition of films like "Invasion of the Body Snatchers" with the genre "There is something in the house!" horror movies on which "Get Out" is also capitalized.
"Why are they doing this?" The boy asks about the time when the audience surely wonders about the same.
However, as the narrative progresses, there is a rubbing feeling that the payout may not be the same as the leaping excitement, a concern manifested to a great extent by the film's last action.
Peele, it is worth noting, is launching a new version of "The Twilight Zone" on CBS All Access, and the spectrum of that series weaves over "Us" in the way it has many a movie in the years ago. Once you have created an inexplicable scenario, there are the two challenges that both maintain the excitement and provide an explanation rooted in logic as well as surprise.
"Us" does fine on the front front but lacks the last one. While there are hints about bigger ideas in the plot, the structure is almost as elegant as what, yes, "Get Out" financially caught.
After setting the bar so high, Peele can be forgiven for the difference. Nevertheless, it is the inevitable burden of early success, in that the downward quality of M. Night Shyamalan's movies could not help referring to "The Sixth Sense" and "Unbreakable."
If the projection design appears correct, "Us" is heading for a strong opening, which should cement the director's status as Hollywood's new toast.
As a first film, this film would surely have been hailed for its promise. Keeping up with a debut that earned a well-deserved Oscar nomination and honors for best original manuscript, it's easy to think that "Us" doesn't deserve all that hassle.
"Us" prizes March 22 in the United States. It is classified R.