Us

With this grotesquely warped horror movie reminiscent of The Twilight Zone, Jordan Peele has confirmed his position as an illustrious talent in the field of genre films. In Us, those who are so inclined can see a provocative parallel to the basic principle of capitalism, i.e. the presumed right to privilege and living life at the expense of someone else, which brings out the dark side of people. At the same time, however, it is simply a great, original horror flick that is not satisfied with the superficial tricks with which most current contributions to the genre are inundated. (2019-03-31)

Is it possible that this was made by the creator of the brilliant Get Out?! Us does not work on any level as an attempt at horror with certain (perhaps philosophical?!) overtones. Though it is a technically flawless Hollywood movie, it is laughable and unbelievable in terms of its content. Scenes that are supposed to be scary are instead embarrassing to the point of being ridiculous; the dialogue, which is supposed to be wittily cool, is unnatural and silly. There is seemingly an attempt at an interesting existential element in the uncovering of the story’s mystery, but it turns out to be WTF nonsense. It’s as if the sophisticated violin of Shyamalan’s early originality and Stephen King’s thematic distinctiveness were supposed to be employed here, but there was only enough talent for a child’s ukulele with half of its strings missing. (2020-10-16)

The year before last, audiences received a film that defied all established horror norms, offering truly effective scenes (whether dialogue-driven or filled with tension and dense atmosphere) and, above all, a well-crafted script full of innovative ideas with no logical gaps. Yes, I’m talking about Get Out from the same director who made Us this year. While Get Out could be considered a perfect cinematic event in every way, Us was a step back. Unfortunately... Initially, I didn’t dismiss the film outright. The plot was unfolding at a reasonably satisfying pace, not pushing too hard, and the director aimed to make the resolution in the middle of the film have a strong impact on the audience. This did happen, but in a negative sense. I admit, many things went over my head; I just didn’t get it. What irritated me most were the screenwriting attempts to lighten the horror atmosphere with some jokes, which didn’t work at all. The film itself, at times, came across as comical in its execution and overall tone, which I don’t think was the filmmakers’ intention. The ending could have saved it with its explanation, but in my view, it only confused most viewers more. I’m disappointed. On the other hand, I wouldn’t write Peele off after one failure. His two-year-old debut convinced me that he has great potential, which I believe he will fully realize in the future. It just didn’t work out this time, so hopefully next time. I give it 43%. (2019-07-24)

For however much Jordan Peele is following the overrated Get Out with a film that divides the audience and for which I could easily understand any choice on the rating scale, this is a surprise that caught me quite unprepared. And that I more than anyone else would be the one praising this film the most? I would never believe it. But Us is a true example of a combination of nerve-wracking situations, goosebump-inducing moments, and humor that doesn't play it safe and instead complements the mood excellently, in most cases, in a completely unforced way. The social issues are present this time are just right, and also subtle, so you need to (voluntarily?) dig into them in your own way and not get slapped in the face with them every few minutes, as was the case with Get Out. The first reveal pleasantly surprised me in how it doesn't hold back in terms of genre, the second, which some found excessive and degrading, actually spun the ideological whirlwind at double speed for me. I might even leave the fifth star for a hypothetical second viewing due to the occasional brutality and overall despair. Although I felt very claustrophobic almost the entire two hours while watching, the battle in the background with the pas de deux composition is an unprecedented example of harmony between music and image that I will want to see again. A sculpted toy that can't be faulted. (2019-03-27)

An overly calculated and sure-footed Oscar-winning film that ticks off the likely situations to come, and they do come, including the pathetic ending. But the dialogues between Tony and Shirley are hilariously written, there's a great spark between them and I laughed my heart out at times. Viggo plays my peer, always eating like me, getting a pot belly like me, just cute. I'd like him to win an Oscar, more than Rami "look-at-my-brutal-attempt" Malek, and more than Ali, who to me is an actor of one expression. (2019-07-29)