In Get Out (2017), Jordan Peele successfully balanced humour with a fresh brand of horror-thriller that thoughtfully sought to confront racial and social issues within the confines of an elaborate thriller plot. As if Theme Parks, Hall of Mirrors, and ‘Vision Quests’ weren’t already creepy enough in horror films, Us notably places a higher emphasis on the horror side of Jordan Peele’s style, with more brutal scenes, unnerving characters and thrills, along with sociopolitical allegory, living up to the hopes of thrill-seekers wanting more ‘scare’ out of Peele than in Get Out. It also makes you want to avoid Theme Parks and ‘Vision Quests’ altogether, though.
“Who are you people?”
Gabe Wilson to Red
“We’re Americans”
The opening sequence sets the tone and immediately steals out attention by preying on relatable parental fears of losing a child in a busy crowd, while traumatising Adelaide’s childhood fear, establishing Peele’s villains. This first act is bewildering – which holds a powerful effect in conveying Peele’s style of horror. There is an intense build up, with a looming sense of dread, reflected by spectacular camera work and environments. The raging lighting storm and disorienting lighting and colour effects from the amusement park are key elements to the introduction, demonstrating Jordan Peele’s keen eye for visual style. Coincidentally, the final act takes us to a more hallucinogenic state, with underworld themes reminiscent of the closing act of Get Out and Kubrick-esque camera work.
The tone is consistently unnerving, thanks to the stellar cast, tense music, and Peele’s ability to disturb us in a multitude of ways, often simultaneously. At certain points during the film, perhaps you will be less thankful of that. There is something unnatural about the Tethered and the way they move, as though they’re incomplete or imperfect copies of their originals. During the opening sequence, serving as a prelude set in 1986, in an abandoned, creepy-looking ‘Vision Quest’ – which frankly screams ‘horror movie trap’ – Adelaide discovers an eerie reflection of herself that is more flesh and blood then she was prepared for. 30-years later as an adult, with a husband and two children, her family come face-to-face with their twins – known as the ‘Tethered’ – during a home-invasion. They personify Peele’s political commentary while playing the role of physically threatening slasher-movie assailants. Though more to the point, their choice to wear red jumpsuits is frightening enough – both as a fashion statement, and as a Michael Myers fan club. Regrettably for them not Austin Powers, rather the guy with the mask and machete.
“They look exactly like us. They think like us. They know where we are. We need to move and keep moving. They won’t stop until they kill us… or we kill them”
Adelaide Wilson
There are parallels to be made with Get Out, where they use a similar skeletal structure, even ending with a familiar underworld escape sequence. Get Out also used bewilderment and confusion to further its horror elements. Where protagonist Chris Washington is put into a trans-like state in Get Out, Adelaide enters a ‘Vision Quest’ at the beginning of Us, thematically referring to the Native American rite of passage, in which participants are lead to see a vision of a spirit who will help them discover their purpose in life. As you will discover later in the film, this has more meaning to certain characters than can reveal here. What transpires in the ‘Vision Quest’ leads to a childhood trauma that comes back to haunt her 30 years later, when she returns to Santa Cruz with her family. Significantly, the climax of the film takes place within the realm concealed by the very same ‘Vision Quest’ building.
While these elements certainly add to the sense of horror, made more intense by the confusion caused by its somewhat trippy aspects, Jordan Peele’s social commentary is as powerful in Us as it was in Get Out. One of the main commentaries made throughout is about American attitudes towards class. When we are introduced to the Wilson family, they come across as comfortably Middle-class, yet somewhat jealous of their friends, a white American family – the Tyler’s – who have more money and luxurious goods, which happens to include a boat. It isn’t until the Wilson-döpplegangers appear that the message is made clear: be thankful for what you have, as there are others who have little-to-nothing. References to contemporary pop culture also heighten the impression that there is also a criticism of the part American consumerism and advertisement culture plays into the empowerment and sour attitude of privileged classes. The Tethered personify Peele’s social criticism in true horror form. Their eerie presence and unsettling body language are uncomfortable enough, but it is when we consider them as reflections of modern American society and its demonisation of minorities that they take on a much more powerful role.
“Ophelia, Call the police”
“Ok. Playing F*** the Police by N.W.A.”
Kitty Tyler meets her undoing thanks to her reliance on Ophelia (akin to Siri or an Amazon Echo), which ironically derives its name from the Greek word for ‘help’…
Having said that, the way they move, speak – predominantly through more primitive ‘clicks’ and grunts – and appear as crooked versions of ourselves is disturbing enough. This is supported by Michael Abels’ score, which is, fittingly, every bit as suspenseful – and the use of N.W.A’s “F*** the Police” adds a touch of parody, mocking the trope horror characters who inevitably never make the phone call that could save their lives. The choice to fit this song amoungst the eerie score highlights Jordan Peele’s ironic, if sinister, sense of humour, evoking similar humour cues from Get Out: the irony of the song in the particular scene doesn’t go unnoticed, but the contrasting brutality that clashes against the otherwise amusing song choice prevents us from laughing out-loud – rather, we acknowledge the message and wince at the grotesque smiles of the Tethered-Taylor’s. Ables successfully adds to the anxiety-inducing tone of the film, assisting the effect of the Tethered’s unnerving facial expressions and body movements in making us as uncomfortable as possible – a discomfort that finds its origins in a thematic awareness of social and racial tensions, as well as the Romero-esque copies from the underworld. Perhaps a personal highlight moment in the score is the overture theme, featuring a sharp, percussive choir (akin to the intense strings from Hitchcock’s Psycho) accompanied by tribal drums, bells, and strings, reminiscent of Kenji Kawai’s infamous “Making of a Cyborg” from 1995’s Ghost in the Shell.
The cast have been brilliantly chosen. On one hand we have Lupita Nyong’o as Adelaide, the matriarchal character of the Wilson family, who struggles with her childhood trauma, while her husband Gabe, played by Winston Duke, offers moments of comic relief that often contrast against the tense atmosphere and brutality of the Tethered. There are also fantastic performances from Shahadi Wright Joseph, portraying older sister and daughter Zora, and Evan Alex, playing as the younger brother Jason. Impressively, each cast member also plays their duplicate as if they are cracked mirror versions. Adelaide’s twin, Red, for example, is equally the matriarch of her corrupted version of the Wilson family – however, there is something about her that is cold and calculating. Each of the mirror-Wilson’s is disturbing and somewhat primitive, communicating through grunts and clicks, while Red seems to be the only one with the ability to talk – if hoarse and forced. Admittedly even from the get-go there is a feeling that Adelaide’s relationship with the Tethered brings her to a much more dominant role in the film and the family and each member of the family overcomes and outsmarts their counterpart, with each member of the cast showing they are able to play both roles seamlessly.
Jordan Peele uses the home-invasion, slasher-horror genre as a backdrop to explore contemporary sociopolitical themes, while maintaining the ability to offer genuine film scares, demonstrating how popular media can be an effective way to communicate criticism of contemporary society and the attitudes it promotes. That’s not to say you should be too welcoming of those Michael Myers types – especially if they’re distorted copies of yourself. Taking cues from infamous horror directors, with references and nods acknowledging his influences, you should certainly look forward to Jordan Peele’s future endeavours in the genre… depending on how well you cope with his brand of horror, that is.
The balance of horror, oppressive atmosphere and brutality with comic relief moments lend to defining Peele’s writing style, while the structure of Us, leading to a climactic and rather aptly chosen underground research facility, recall the style, thematic elements and structure of Get Out. Us, in this sense, shows a strong development that has evolved from his previous work, taking it into an unapologetically horror direction. One thing’s for sure: you won’t be able to look at your reflection the same way again. If you haven’t already, I highly recommend going back and watching Get Out and rewatching the horror classics that influenced the director himself.
