The Get Out director’s new film is more complicated, more outrageous, and, in a lot of ways, more daringly funny and topical than its predecessor.
In the opening sequence of Us, Jordan Peele gives the audience what it might be expecting after months of hype for his follow-up to Get Out: a perfectly taut piece of virtuoso horror filmmaking. A little girl (played by Madison Curry) frolics with her family at a seaside funfair, then wanders off as her dad plays a carnival game, eventually winding up alone in a haunted house. It’s a place for cheap scares, one that tries to jolt you by having things burst out of the wall. But Peele (who wrote, produced, and directed) has more unsettling sights in store, including something so disturbing that the camera takes in only the girl’s reaction, her eyes widening with shock.
It’s a thrilling sequence that feels as if Peele is laying down a marker after the success of his Oscar-winning debut film. Get Out was also a horror movie, but a wry, satirical one, the kind that could be nominated for comedy awards and still scar entire generations of viewers with its notion of “the sunken place.” In its dread-suffused opening moments, Us is utterly serious. But as the plot moves forward, the film becomes more complicated, more outrageous, and in a lot of ways, more daringly funny and topical than its predecessor. Us is a glorious symphony of fear, to be sure, but it’s also an ambitious sci-fi allegory and a pitch-black comedy of the haves and have-nots.