Us – Review

This past weekend, I managed to make it out to see Jordan Peele’s latest buzzy thought-provoking horror film, Us.  With maybe the toughest act to follow in Get Out – arguably one of the more influential and unique films in recent years – Peele and his Monkeypaw Productions company have come through in spades, delivering a sophomore effort that bucks the standard slump trend, and if anything pushes the limits of what he can do within the horror genre to previously unknowable heights.  Given the film’s sterling box office performance on its opening weekend (reportedly $70 million, the best opening for an original film since James Cameron’s 2009 gangbuster Avatar), you’re sure to hear it discussed this week and beyond, but you can read on for my spoiler-free takes if you’re interested in them.

If you wanna get crazy, we can get crazy!

It’s worth noting right off the top that Us is both written and directed in a way that’s nothing short of fantastic.  Jordan Peele is, simply put, a generational talent, and has cemented himself as such with another unique and well-crafted blend of suspense, humor, disaster, and even art film elements.  Us delivers a similar brand of subtext to Get Out that at times is both more heavy-handed and slightly harder to parse, but its similarly profound devotion to its social causes and its deeper moral could only be otherwise described as complete, ranging in expression from its plot devices to its (warning – spoilers in this link) repeated numerology right down to the symbolic use of Luniz’s “I Got 5 On It” (that classic hip-hop song that gets a spooky remix in the film’s trailer – yes, I do believe that its lyrics, which seemingly, as Us’s Zora claims, are only “about drugs,” have some less prosaic meaning in this context that points towards the idea of literally sharing souls).  Any societal messages that the film spends time trying to send are only amplified by the fact that Us is surprisingly funny, even when considering the fact that Peele (who no doubt is still known just as much for his comedic resume as for his newfound penchant for highbrow horror) is its creator – after all, satire and comedy are hardly new mechanics for effective delivery of such whispered missives.

This will probably be a pretty popular Halloween costume this year, and rightfully so.

With all that said, maybe Us’s greatest strength is its prescience in terms of when it’s OK to stop working so hard on subverting a genre (which it of course does left and right) and instead embrace some of that very genre’s classical timeworn elements – namely, the ones that work.  One of the more memorable scenes in the film – second only to the climactic one, which I’ll refrain from divulging many details about here – is the first scene that pits our protagonist family against its antagonistic doppelgangers, which is chock full of horror film tropes that are each more than likely one misstep away from not playing as well as they did.  When they’re combined, though, and when the confluence of a shadowy many-windowed cabin in a remote stretch of woods and a notably peculiar band of besiegers is executed so flawlessly, they play well indeed.  Peele’s love of the genre shows itself onscreen more clearly in these moments than elsewhere, and his reported list of homework assignments for his cast is indicative of his commitment to the suspense-drenched language he wanted the film to speak.  This language is also evocatively spoken by Us‘s abundance of traditional but undeniably creepy settings: a carnival, complete with a funhouse brimming with mirrors.  The aforementioned cabin in the woods.  A dark road.  Others that I won’t spoil.

Seriously – that whole wall behind them is basically windows – not really what you want in a slasher survival situation.

In general, the entire cast of Us, from its younger newcomers up to its seasoned veterans, is phenomenal, with its centerpiece, Lupita Nyong’o, essentially carrying the film on her shoulders for significant stretches.  Joining her in a less weighty but at times equally pivotal role is Winston Duke, playing perhaps the most dad dad of all time (sidenote: based on the brand of humor Duke’s character more often employs, it’s clear that Jordan Peele is suited for fatherhood), with Elisabeth Moss and Tim Heidecker also signing on to provide a seeming foil of alcoholic extravagance to the central family’s more reserved method of vacationing.  The mayhem that the cast of characters is made to endure in Us is faithfully rendered by its players, who deftly shift between the pockmarks of humor that the action occasionally demands and the sense of dread imposed by the film’s premise.  While Peele’s creative influence is second to none when it comes to Us‘s triumph, the importance of the cast also can’t be understated.

Haunting.

Jordan Peele and all others responsible for Us’s creation are currently basking in the warm light of success, and it’s light that’s well-deserved.  As a fan of film, and in particular as a filmgoer who respects the challenges of putting an original idea onscreen (a set of challenges being eschewed more and more frequently by Hollywood’s proverbial board of directors in favor of existing IP), I can only hope that other filmmakers ranging in experience from fledgling to behemoth will learn something from the long list of accomplishments and accolades that Us will no doubt lay before itself in the coming year and awards season.  If only to witness a masterclass in building and releasing dramatic tension, Us should be viewed promptly by anyone who can stomach some gore and thematic anxiety.  If you’ve already seen Us, and are instead merely looking for more of the same brand of chills, Peele’s Twilight Zone reboot is right around the corner.

Us – giving a whole new creepy meaning to classic romantic “palm against palm” gesture.

Author’s/Grumpy Old Man’s Note: While I currently lack the imaginary column inches (read: the time) to talk about this to the extent that I’d like, Us was also a somewhat illuminating experience in terms of the shortcomings of theatergoing, and in particular attending a film on its premiere weekend where a large crowd is present.  In the wake of that experience, which had its share of frustrating moments, there’s likely more to be said about what I at times have perceived as an assault on the sanctity of the movie theater ambience, specifically when it comes to the horror genre.  To be clear, it’s hard for me to draw a clear-cut line in the sand here, as audience interaction can be half the fun at times, and some of my best theater experiences (this one as well) have included exultant cheers in the inspiring moments, and laugh tracks during the comedic ones.  Parts of the movie theater endeavor no doubt yearn, or even demand, to be made communal, but other parts – the parts where full-volume conversations are happening in the theater amidst a scene with soft-spoken dialogue, for example – certainly aren’t.  It’s difficulties like these that leave me wondering if I had been better off watching Us – a film that in itself really doesn’t beg a big-screen viewing – in the potentially eerie darkness of my own home, and it’s the future likelihood of such events that draws pause when I consider my plans for the Endgame.

Black Panther Review

While I’m aware that Black Panther has broken a bunch of box office records – like recouping its $200 million budget in its opening weekend – I don’t know who has been going to see it, as I’m sure all of you have been waiting to read my review.  Wait no longer!

One of the most telling lines from Black Panther – uttered by Shuri, King T’Challa’s little sister and probably my favorite new character – is “Just because something works doesn’t mean it can’t be improved.”  This line seems to embody what the game plan has been with Black Panther, and Kevin Feige and company seem to be at the height of their powers in terms of making plans into realities.  Black Panther is a complete, well-polished, and above all unique Marvel thrill ride that elevates the MCU to new heights at a time when new heights probably weren’t thought possible by most.  It also seems to arrive at a very opportune time, when the current political climate and social issues at the forefront of our minds tie in well with the messages of the film, begging the question of how calculated the timing of its release really is.

Too sharp to touch.

Before I get into the deeper stuff, let’s just start by saying that Black Panther is fun in exactly the way you’d expect a Marvel movie to be, and perhaps more fun at times.  The casino and car chase scenes in Korea – shown frequently in the trailer and marketing materials – are some of the better action scenes in the MCU, on par in my book with the fight scenes in Winter Soldier (my personal favorite MCU installment – a ranking of all of the Marvel movies probably deserves its own post at this point).  These portions of Black Panther have the feel of a James Bond movie more than a superhero flick at times, with a powerful aura of coolness and little mention of superhuman abilities.  This de-emphasis on superhuman abilities also extends to the ritual combat scenes taking place in Wakanda – also some of the more thrilling bits of Black Panther, probably for that very reason.  Stripping away T’Challa’s powers immediately prior to a deadly battle with axes and spears allows all of us to relate to him just a little bit more, and obviously adds suspense where suspense might be needed.

T’Challa and Killmonger squaring off in ritual combat.

The cast is all around very good – Michael B. Jordan in particular is fantastic as Killmonger, the MCU’s latest (and definitely most competent) attempt to solve Marvel’s villain problem.  A villain with a somewhat typical revenge plotline but atypical motivations beneath the surface, Killmonger is teamed up with Klaue – an arms dealer you may remember from Age of Ultron, played by Andy Serkis of Lord of the Rings/Planet of the Apes fame.  This duo of baddies, in their craftiness and wanton desire for destruction, composes the strongest set of antagonists Marvel has seen since Winter Soldier (you know – before he turned into a good guy).  Also of note are Lupita Nyong’o as Nakia, a Wakandan spy, Daniel Kaluuya (as seen in Oscar darling Get Out and Black Mirror) as T’Challa’s best friend W’Kabi, Letitia Wright as T’Challa’s Q-like little sister Shuri, Angela Bassett as Ramonda, Danai Gurira as Wakandan general Okoye, and Forest Whitaker, appearing as Wakandan shaman Zuri in a role similar to his stint in Rogue One but far better executed.  Of course, there’s also Chadwick Boseman as the Black Panther himself, introduced in Civil War but given a more full-fledged origin story of sorts here.  In an overly star-studded cast, Boseman holds his own in the titular role, but just barely, as he’s often overshadowed by the likes of Jordan, Wright, and Nyong’o specifically.

One of the more tense dramatic scenes in Black Panther.

And there’s also Everett Ross, played by Martin Freeman (Sherlock, The Hobbit).  Ross is a former pilot turned CIA agent who has popped up briefly in the past – during Civil War – and who appears to perhaps be the next Phil Coulson (a glue-like character similar to the continually absent Nick Fury, and who in my opinion was killed way too soon).  What the future holds for Everett Ross is uncertain, but what seems clear is that he’ll be an important piece of the puzzle as we approach the Infinity Wars.  In the meantime, it seems the character is apparently inspired partly by Chandler Bing (yes, that Chandler Bing), so that’s…something.

I was going to try to find a picture of Ross, but this is just way cooler.

These characters are all placed against the backdrop of one of Marvel’s more in-depth worldbuilds in the fictional African country of Wakanda, a well-hidden nation consisting of five tribes and built upon a veritable goldmine of Vibranium – that stuff that Captain America‘s shield, along with plenty of other Marvel gear, is made of.  Wakanda has hints of Asgard, hints of Sakaar, and even a bit of Themyscira, but it’s also on a whole other level in terms of the use of color and high-tech toys in a low-tech world.  Wakanda is Blade Runner-esque completely foreign in its futurization and its mythos, and it’s also here on Earth, which gives it a compelling leg up over the more cosmic locales mentioned.  Ryan Coogler (Fruitvale Station, Creed) seems to have been a fantastic choice to direct, and does some excellent work creating the world of Black Panther.

Our first view of Wakanda, early in the film.

Throughout the building action, Black Panther does the globetrotting that most Marvel movies do, bouncing quickly from Nigeria to Oakland to the UK to South Korea, but of course, Wakanda remains the primary focus throughout, as members of its power structure struggle with the responsibility to use its resources and technology to help the countless people across the world with whom they share ancestry.  Black Panther deftly handles the social issues that you’d expect it to, but it also asks sobering and timely questions about complex ideas that completely transcend the fictional universe in which they’re asked, touching on things like altruism versus isolationism, and the best ways in which to use power when it’s yours.  While it’s clear throughout that responsibility is a core theme and a core Wakandan value, what Black Panther’s characters grapple with is how to best help those that need it, and what’s entertaining about this journey is that most characters likely have motives that aren’t either completely virtuous or vice versa.  There’s a fair amount of grey area in which to operate, and while some ideas – namely Killmonger’s plan for escalation of violence – are clearly wrong, there are others that can’t be painted as black or white.

Shuri is the bomb.

It all adds up to an incredible ride that’s suitably and adequately different, and lives up to the enormous hype that it has built over the past few months.  It’s not as funny as more recent MCU installments like Thor: Ragnarok, nor should it be.  It also doesn’t have as many callouts to other franchise components as many other Marvel movies do, and in fact it doesn’t do much of anything to set the stage for the coming Infinity Wars – it’s overall self-contained, which is refreshing, and it doesn’t overreach because it probably knows it doesn’t need to.  Either way, Black Panther is a thrilling ride that convincingly bucks the notion that Marvel films are turning into one same-old after another, and it’s well-worth checking out.  And of course, stay tuned afterwards for the post-credits scenes – there are two – though I’ll admit that they’re probably the most underwhelming part of the whole experience.