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Thread: Jordan Peele's US

  1. #11
    I reckon that looks pretty creepy and orginal. I'm in. I also thought Get Out was a lot of fun as a smarter and all round better spin on the Stepford Wives formula. The level of acclaim it got though was a bit odd. It's not the sort of film I expect to get nominated for an Oscar and that it reached that kind of level is a real sign of the impoverished state of cinema these days.
    Jackie Treehorn treats objects like women man.

  2. #12
    With declining viewers and political correctness we should be seeing many more questionable yet popular choices.
    They're struggling to remain relevant.

    Anyways, I learned long ago that the Oscars was nothing more than a popularity contest for Hollywood.

  3. #13
    Surprised nobody's posted about this since it came out (and is the #1 movie at the B.O.). More later, but, for now I'll just say it's ok, but a bit of a disappointment. Too long (especially the set-up) and far too much time is spent on the home invasion angle. A couple of disquieting moments and ideas, but, if you think about it for even a bit, the plot makes little sense -- even on it's own terms.

  4. #14
    Administrator Ian Jane's Avatar
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    Snazzy Best Buy exclusive steelbook art. Disc comes out in June.

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  5. #15
    My full review:

    For all it virtues, Jordan Peele's GET OUT's greatest strength may have been its strong focus on getting from its creepy beginning to its finale. All of the social commentary, humor and production values seemed determined to arrive at that conclusion (fumbled a bit, but, that's a different discussion). With US, Peele has chosen a much more indirect route. The end goal may have been clear to Peele, but, the path is much rockier.
    Give Peele kudos for ambition. US is chock-full of subplots, subtext and, even a bit of genuine subversion. The basic gimmick seems simple enough. A young girl Adelaide (Lupita Nyong'o) walks into a funhouse in 1986 and exits a scared and scarred victim of a frightful appearance. Cut to the present and the now adult Adelaide and her husband and two children are going on vacation near that same fateful funhouse. Audiences conditioned by horror films can start to guess what is going to happen next, but Peele continues to toss in curve balls and sliders as US flits from childhood terrors to home invasion thriller to Invasion Of The Body Snatchers riff to Zombie flick.
    By the time we get to the conclusion, the audience may be forgiven for feeling a bit worn out, not just by the longish running time (110 minutes), but, by the twisty path US takes to get to the not altogether satisfying conclusion. What keeps the movie afloat is the fine acting by Nyong'o, Elisabeth Moss and Shahadi Wright Joseph (as Adelaide's daughter). Peele stages much of the action well and the other tech credits are solid. While there isn't the deeper vein of humor as found in GET OUT, Peele sneaks in a few choice bits in the margins.
    To Peele's credit, he has never been shy about acknowledging his inspirations in his work, whether it be The Stepford Wives for GET OUT, or the Twilight Zone episode 'Mirror Image' here (Peele's revamp of Twilight Zone has just begun airing). Some may also see not only the influence of the aforementioned Invasion Of The Body Snatchers, but, also THE STRANGERS, GREMLINS and even the semi-obscure British horror film DEATH LINE (aka Raw Meat). All filmmakers borrow, of course. Unfortunately, sections of US feel like an undigested collections of themes, storylines and plot points. Without getting into spoilers, I'll just state that the more one thinks about it, the less the basic premise makes sense. Peele tries the trick of avoiding direct explanation of what the hell is going on, but, there's enough there to notice that it doesn't add up.
    It is too easy to say that US is Peele's 'sophomore slump'. It's better than that, but, it's still a bit of disappointment.

    If nothing else, US answers the question of what an early David Cronenberg (70s era) remake of Penny Marshall/Tom Hanks' BIG would have been like!
    Last edited by JoeS; 04-04-2019 at 12:54 PM.

  6. #16
    The biggest flaw with GET OUT was it was too obvious from the get go
    The premise of US sounds much more interesting to me.

  7. #17
    Seems like I read something that people with some sort of disorder that a character in US has were not overly happy or something? The disorder involves speech, I think?

  8. #18
    Administrator Ian Jane's Avatar
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    Press release!


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    DIGITAL JUNE 4, 2019

    Universal City, California, April 30, 2019 – Academy Award® winner Jordan Peele follows the success of his blockbuster hit, GET OUT, with the masterfully executed and viscerally terrifying US. Certified Fresh on Rotten Tomatoes with a score of 94%, the film is being hailed as “a colossal cinematic achievement” (Richard Brody, The New Yorker) and is “meant to be watched over and over” (Emily Yoshida, New York Magazine/Vulture). Fans around the world can now untether the truth with more than 50 minutes of bonus features delving deep into the mind of Jordan Peele, his filmmaking process and the symbolism behind US. The global sensation arrives on Digital on June 4, 2019, as well as on 4K Ultra HD, Blu-rayTM, DVD and On Demand on June 18, 2019.

    Featuring incredible must-see performances from Academy Award® winner Lupita Nyong’o (Black Panther, 12 Years a Slave), Winston Duke (Black Panther), Emmy® winner Elisabeth Moss (“The Handmaid’s Tale,” “Mad Men”) and Tim Heidecker (The Comedy, “Tim & Eric’s Bedtime Stories”), US is “the most out-of-the-box horror film of the past decade,” (Nathaniel Brail, Heroic Hollywood). Movie enthusiasts and horror fans alike can watch US again and again to unravel its darkest secrets. Doppelgängers. Hands Across America. The Nutcracker. Rabbits. 11:11. The key themes and imagery from US are unpacked and explained in exceptional bonus content such as The Duality of US featurette where Jordan Peele talks in-depth about many of the ideas behind the film.

    Set along the North California coastline, Adelaide Wilson (Nyong’o) reluctantly returns to her beachside childhood home with her family and finds that she is haunted by unresolved trauma from her past along with a string of eerie coincidences. As darkness falls after a tense day at the beach, the Wilsons discover four figures standing in their driveway. They soon realize this is only the beginning of their troubles as they find that the four figures are terrifying and uncanny opponents: doppelgängers of themselves.

    Scene Explorations - The making of three iconic scenes from the film including the Tyler house massacre, Jason’s abduction and Adelaide’s underground flashback.
    Seven Second Massacre
    It's a Trap
    I Just Want My Little Girl Back
    The Duality of US - Jordan Peele goes in-depth on some of the key themes and imagery in US – including Doppelgängers, Hands Across America, The Nutcracker dance scene, rabbits and the infamous 11:11 coincidence.
    The Monsters Within US - Examine how the great cast were able to find their characters, whether they were playing one of the Wilsons or their sinister doppelgängers.
    Tethered Together: Making US Twice - Making of a movie is hard. Making a movie where all the main cast play dual roles can be downright mind-bending. In this piece, filmmakers, cast, and crew discuss some of the technical challenges to making the film, as well as some of the design choices for the characters.
    Redefining a Genre: Jordan Peele's Brand of Horror - In the space of two films, Jordan Peele has set himself apart as an invaluable artistic voice. Hear cast and filmmakers highlight what makes him so unique, as well as Jordan's own thoughts on his inspirations and the relationship between horror and comedy.
    Becoming Red - Using behind-the-scenes footage from between takes, we take a closer look at Lupita Nyong'o's intense and mesmerizing performance as "Red."
    Deleted Scenes
    I Am Not Even Near You
    Rabbit Season
    That's Badass
    The P is Silent
    I Wanna Go Home
    We're All Dying – Hilarious outtakes from the conversation between Winston Duke and Tim Heidecker on the beach.
    As Above, So Below: Grand Pas de Deux - An extended version of the dance sequence from the film, cutting between adolescent Adelaide at her recital to Red in the Underpass.

    The film will be available on 4K Ultra HD in a combo pack (4K Ultra HD+ Blu-rayTM + Digital). Bonus features on the 4K Ultra HD will all be delivered in stunning 4K resolution.
    4K Ultra HD is the ultimate movie watching experience. 4K Ultra HD features the combination of 4K resolution for 4X sharper picture than HD, the color brilliance of High Dynamic Range (HDR) with immersive audio.
    Blu-rayTM delivers a pristine HD picture and theater-quality surround sound.
    Digital lets fans watch movies anywhere on their favorite devices. Users can instantly stream or download.
    MOVIES ANYWHERE is the digital app that simplifies and enhances the digital movie collection and viewing experience by allowing consumers to access their favorite digital movies in one place when purchased or redeemed through participating digital retailers. Consumers can also redeem digital copy codes found in eligible Blu-rayTM and DVD disc packages from participating studios and stream or download them through Movies Anywhere. MOVIES ANYWHERE is only available in the United States. For more information, visit


    Cast: Lupita Nyong’O, Winston Duke, Elisabeth Moss, and Tim Heidecker
    Music By: Michael Abels
    Costume Designer: Kym Barrett
    Editor: Nicholas Monsour
    Production Designer: Ruth De Jong
    Director of Photography: Michael Gioulakis
    Executive Producers: Daniel Lupi and Beatriz Sequeira
    Produced By: Sean McKittrick, p.g.a,, Jason Blum, and Ian Cooper, p.g.a.
    Written, Produced, and Directed By: Jordan Peele

    Street Date: June 18, 2019
    Selection Number: 61201558 (US) / 61201863 (CDN)
    Layers: BD 100 / Aspect Ratio: 16.9 2.39:1 Widescreen
    Rating: Rated R for violence/terror, and language
    Video: 2160p UHD Dolby Vision/HDR10
    Subtitles: English SDH, French and Spanish
    Languages/Sound: English Dolby Atmos, English Dolby Digital 2.0, French and Spanish Dolby Digital Plus 7.1
    Run Time: Sean McKittrick, p.g.a,, Jason Blum, and Ian Cooper, p.g.a.

    US 4K Ultra HD is available in Dolby Vision™. Leveraging the HDR innovation that powers Dolby’s most advanced cinemas around the world, Dolby Vision transforms the TV experience in the home by delivering greater brightness and contrast, as well as a fuller palette of rich colors.

    Street Date: June 18, 2019
    Selection Number: 61201423 (US) / 61201427 (CDN)
    Layers: BD 50 / Aspect Ratio: 16:9 2.39:1 Widescreen
    Rating: Rated R for violence/terror, and language.
    Subtitles: English SDH, French and Spanish
    Languages/Sound: English Dolby Atmos, English Dolby Digital 2.0, French and Spanish Dolby Digital Plus 7.1
    Run Time: 1 Hour and 56 Minutes

    Street Date: June 18, 2019
    Selection Number: 61200733 (US) / 61201426 (CDN)
    Layers: DVD 9 / Aspect Ratio: 16:9 2.39:1 Anamorphic Widescreen
    Rating: Rated R for violence/terror, and language.
    Subtitles: English SDH, French and Spanish
    Languages/Sound: English, French, and Spanish Dolby Digital 5.1, English Dolby Digital 2.0
    Run Time: 1 Hour and 56 Minutes
    Rock! Shock! Pop!

  9. #19
    I saw it a few weeks back and thought it was a fun time at the movies. The premise was entertaining, the cast was great and the finale was exciting. I didn't like it holding back some of the violence and bloodshed. I understand why Peele did it but there's a few times where I thought it would've been more effective if it was shown.

    Overall I enjoyed it more than Get Out. Not sure if it will hold on a re-watch but we'll see.


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