![]() ![]() The ending seems likely to kick off a lot of frustrated debate - at the SXSW Q&A, Peele said, “My favorite thing is the idea that people will leave ready to have a conversation, with whoever they’re with.” And that certainly seems likely. The characters are faced with something they don’t understand and don’t know how to fight, and the more the story unfolds, the weirder and wilder it gets, with Peele keeping the reveals coming up to the film’s final moments. ![]() ![]() There’s a lot less recognizable territory in Us, which instead mines tension from the extreme unrecognizability of the situation. Part of what made Get Out so memorable was the way it echoed a recognizable reality - the discomfort the lead character experiences when he’s away from his friends and the people who really get him, the friction that can arise in a racially mixed group, even when both sides are supposedly well-meaning, even the simple embarrassments of trying to get along with a romantic partner’s irritating family, for the sake of the relationship. Charles Chaplin United States, 1919 35 mm. Everything that falls out from there - what the doubles are, where they come from, and what they want- comes as a series of shocks better experienced than described. Charlie decides to take his wife and children on a boat trip, but the family car proves somewhat recalcitrant. Soon, eerie dopplegängers of Adelaide, Gabe, and their children Zora (Shahadi Wright Joseph) and Jason (Evan Alex) appear, wearing red jumpsuits and wielding brightly colored, hellishly sharp shears. Your perception of reality has been completely warped by the far-right. As an adult, Adelaide Wilson (Lupita Nyong’o) remembers this encounter with a heavy sense of dread, and when her husband Gabe (Winston Duke, M’Baku from Black Panther) books a vacation that takes her back to the same beach, she starts experiencing frightening flashbacks. This is a classic meme from a classic, cheesy line from the movie, Hackers. While movies such as Das Boot are better in cinematography and detail, Submarine D-1 offers a rare glimpse and accurate depiction of the preWorld War II submarine service. In 1986, as the Hands Across America benefit is being staged, a young girl (Madison Curry) visits a Santa Cruz beach boardwalk and confronts an eerie apparition that looks just like her. and A Nightmare on Elm Street, Us initially takes place in two timelines. Opening on a shot of a television in 1986, helpfully framed by shelved VHS copies of highly relevant horror movies like C.H.U.D. ![]()
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