“Therefore this is what the Lord says: ‘I will bring on them a disaster they
cannot escape. Although they cry out to me, I will not listen to them.” - Jeremiah 11:11
Jeremiah 11:11 is seen numerous times during this movie. After seeing this movie, I understand why Jordan Peele (the movie’s director, producer, writer) did not let us in on the passage’s content. This is what he does, he makes you think about what you have seen and then dissect for meaning.
Us begins in Santa Cruz 1986, the summer of “Hands Across America” (you should Google this). Adelaide is celebrating her birthday with Mom and Dad playing boardwalk games at the beach. She wanders away, sees a man holding a Jeremiah 11:11 sign and enters a mirrored funhouse titled “Vision Quest: Find Yourself” Oh boy, does she ever. Adelaide is missing for nearly an hour, and when found she is unable to speak. Later, her parents take her to a psychologist who diagnosis is PTSD and advises her parents to encourage Adelaide to write, draw or dance to express her feelings.
All this happens before the opening credits! Now, we are in present time and Adelaide, husband Gabe and children Zora and Jason are traveling to their vacation home on a lake. First impression,
son Jason is troubled with a T. He doesn’t go anywhere without his fanged mask on his head and has a magic trick lighter than doesn’t light but it doesn’t stop him from continuously trying to get it to work. Daughter Zora seems normal as she complains the Internet was not working. Dad of
course retorts, “You don’t need the Internet, we are in the outer-net”
Even though they are on a lake, Dad and kids want to visit the nearby beach. Which beach you ask? Of course it’s Santa Cruz. Adelaide doesn’t want to go, but ends up capitulating as long as they leave the beach by dark. Before they even get a foot on the sand, we see the same sign holding 1986 Jeremiah 11:11 man being taken into an ambulance. Not a good sign. The day at the beach is cut short when Adelaide freaks when Jason wanders away from the group and is found near the mirrored funhouse.
Later that evening, Adelaide wants to go home, and confesses to Gabe her past experience at the funhouse. She tells him she saw her twin in the funhouse. He tries to calm her by reminding her it was a mirror house, she saw herself. No, she knows it was actually a real person, but there was something wrong with her, and they need to get away now, she has a feeling something bad is going to happen.
And boom, the lights go out.
Just then Zora announces there is a family in the driveway. What? They look out the window into the darkness, and at the top of the driveway is a family of four standing together, holding hands (holding hands is a clue).
Gabe goes out to ask the people to leave, but soon the intruders are breaking into the house, and are holding the family hostage. The intruders are twins of Adelaide’s family. They are wearing matching red jumpsuits, sandals, carry large scissors and speak in screeches. Adelaide’s twin does
manage to speak and tells of being “tethered” to Adelaide, which we later learn was done thru a government cloning experiment gone badly.
Jordan Peele has so much going on it’s almost overwhelming to process all the nuances of the script while sitting in the theatre.
When the psychologist suggests dance as a tool to overcome Adelaide’s PTSD, was that part of the government plan? It becomes a turning point in her “tethering” process.
Loved the line, when Gabe asks the intruders “Who are you?” TwinAdelaide responds, “We are Americans”
Making a wall of twins to create a present day “Hands Across America” is such a metaphor of what is happening in politics today. People, who are Americans, but deemed not true Americans. People the government allowed to be created, but are hidden away and denied existence. And the final plot twist at the end, masked Jason figured it out. He is keeping that mask close.
Lupita Nyong’o as both Adelaides does a fantastic job, it’s too early to talk Oscar’s but….
Us, rated B will keep you thinking long after you leave the theatre.
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