The film revolves around the mysterious death of a ranch owner after a nickel fell down onto his eye as his two adult children deal with not just what happened but also a mysterious object in the sky that is wreaking havoc on their small town near Los Angeles. It is a film that play into these two siblings who deal with what happened to their father but also disappearances around them including a few of their horses. Jordan Peele’s screenplay is largely straightforward though it opens with a quote from the Bible in Nahum 3:6 as it relates to exploitation as the first scene shown revolves around a monkey named Gordy (Terry Notary) who wreaked havoc on a soundstage during a TV show taping as it then cuts to the present where Otis Haywood Sr. (Keith David) is tending to his horse ranch as it is one of the few black-owned ranches that works with Hollywood as Haywood trains horses alongside his son Otis Jr. aka OJ (Daniel Kaluuya).
After Otis Sr.’s death, OJ is struggling to keep the family business afloat with his sister Emerald “Em” Haywood (Keke Palmer) who is more interested in selling it altogether as she is more of a free-spirit while OJ is more serious. Even as he had sold horses to a former child star/western theme-park owner Ricky “Jupe” Park (Steven Yeun) to keep his ranch afloat where the behavior of a few of their horses and their eventual disappearance prompt the siblings to buy some security tech as they get help from a tech store employee in Angel Torres (Brandon Perea) who would discover some things that both OJ and Em are suspecting. Even when Jupe would have an encounter during one of his shows that became the catalyst for OJ, Em, and Angel to take action as they sought the help of the renowned yet eccentric cinematographer Antlers Holst (Michael Wincott) who is resistant at first until he heard about an incident as he wants to capture footage of this mysterious alien object that is causing a lot of trouble.
Peele’s direction is definitely vast in terms of not just its imagery and usage of 65mm film stock for IMAX but also in creating a world that is this strange mix of the western, horror, and suspense with bits of humor. Shot on location in Agua Dulce near Los Angeles, the film does play into this air of intrigue as it has chapter breaks named after some of the horses that the Haywoods own as well as the monkey Gordy and the eventual name they give to this mysterious alien spaceship. The usage of wide and medium shots do play into the setting of the location as well as in some unique tracking shots that Peele create to help play into the sense of wonderment and horror. Notably as Peele doesn’t show the object in full at first but rather through wide shots for brief seconds as it’s more about what is happening on the ground where he would use close-ups to get a reaction from OJ and Em at different points in the film. The scenes that relate to the young Jupe and his encounter with this chimpanzee named Gordy for a TV show alludes to the film’s opening text and what happened during a film shoot where one of Haywood’s horses got agitated all because of a sound.
Even during the second act where Jupe is holding a show yet also has an exhibit about the incident which he pays tourists a lot of money to see this exhibit. His show is a key moment as it play into exactly what this UFO really is as it is far more sinister in the way it treats everyone with OJ, Em, and Angel also getting a closer look at this mysterious thing as it would arrive to drain out whatever electrical power it encounters. Its third act that involves Holst do play into the idea of how to trap this monster as it doesn’t just play into using technology and horses as bait but also to figure out what is it they’re dealing with. Its climax is grand and intense in terms of the stakes but also what a few characters would do to get a shot of this mysterious creature with the resources they have. Overall, Peele crafts an exhilarating and mesmerizing film about two ranch-owning siblings trying to uncover a mysterious creature not of planet Earth.
Cinematographer Hoyte van Hoytema does phenomenal work with the film’s cinematography with its emphasis on some low-key natural lighting for some of the exterior scenes at night as well as its naturalistic look for the daytime scenes while using some lights for some of the interior scenes. Editor Nicholas Monsour does excellent work with the editing as it does have some style in a few montages and some jump-cuts to play into the suspense and horror while also being straightforward to play into the reaction as well as in the long shots. Production designer Ruth de Jong, with set decorator Gene Serdena and art director Samantha Englender, does amazing work with the look of the home and ranch that the Haywoods own as well as Jupe’s own western theme park with all of its attractions. Costume designer Alex Bovaird does fantastic work with the costumes as it is largely straightforward with the exception of the cowboy costumes that Jupe and his wife wears for their show.
Makeup designer Shutchai Tym Buacharern and prosthetics designer Vincent Van Dyke do terrific work with the look of a character that is a guest of Jupe at his show who would also witness this strange phenomenon. Visual effects supervisor Guillaume Rocheron does brilliant work with some of the visual effects such as the motion-capture work of the chimpanzee Gordy as well as the look of the alien creature that is designed by John O. Dabiri as it has this unique look as well as what it looked like from the inside. Sound designer Johnnie Burn does superb work with the sound as he creates unique sound effects and some of the way music sounds and how it would slow down whenever the power goes down as it is a highlight of the film. The film’s music by Michael Abels is incredible for its rich orchestral score that has elements of bombast but also themes that play up to the suspense and horror while music supervisor Krishna Bissessar creates a soundtrack that largely feature music that is played on location including some hip-hop, pop, and R&B that include pieces from Corey Hart, Dionne Warwick, the Lost Generation, and a strange acapella rendition of The Purple People Eater by Michael Wincott.
The casting by Carmen Cuba is wonderful as it feature some notable small roles and appearances from Oz Perkins as a commercial director, Eddie Jemison as an assistant director, Jacob Kim as a young Jupe, Andrew Patrick Ralston and Jennifer Lafleur as a couple of young Jupe’s costars, Sophia Coto as the young Jupe’s teenage costar, Devon Graye as a TMZ reporter wearing a weird helmet who appears late in the film, Donna Mills as an actress for the commercial, the trio of Lincoln Lambert, Pierce Kang, and Roman Gross as Jupe and Amber’s kids, Barbie Ferriera as Angel’s co-worker, and Terry Notary in a terrific performance via motion-capture as the chimpanzee Gordy who goes nuts during a taping of his show. Wrenn Schmidt is fantastic as Jupe’s wife Amber who works with him for his shows as well as knowing that he’s doing what he can to make money out of his own trauma. Keith David is excellent as Otis Haywood Sr. as the father of OJ and Em who runs a horse ranch that trains horses for movies and TV shows as he is seen prominently in flashbacks as he is also the catalyst for what OJ and Em have to deal with after his sudden death.
Michael Wincott is brilliant as the renowned cinematographer Antlers Horst as an eccentric filmmaker who is reluctant to help OJ, Em, and Angel out following a commercial shoot that OJ and Em was involved in but joins in after an incident involving the alien creature where he is aware of what is at stake but also wants to capture something that no other filmmaker has done. Brandon Perea is amazing as Angel Torres as a tech worker for Fry’s Electronics who helps install cameras at the Haywood home where he makes a discovery into what has been captured as he also helps out OJ and Em in their exploits while is also a resourceful individual. Steven Yeun is incredible as Ricky “Jupe” Park as a former child star who owns and runs a western theme park, with an exhibit devoted to his trauma, as he is trying to help the Haywoods financially while he would create a show as it relates to this alien phenomenon unaware of what it wants.
Finally, there’s the duo of Daniel Kaluuya and Keke Palmer in phenomenal performances in their respective roles as the siblings OJ and Em Haywood. Palmer’s performance is the more exuberant of the two as a woman who harbors some resentment towards her late father for not allowing her to train her own horse as a kid where she would go into the world of hustling and such to get by while coming up with unconventional ideas to trap the alien. Kaluuya’s performance is more reserved as this man who loves tending to the family ranch while was the one who had to drive his father to the hospital during his final moments as he deals with grief but also wanting to avenge his father. Kaluuya and Palmer have unique chemistry in the way they act out as siblings as they have opposite personalities yet are strong when they work together and get shit done as it relates to this being that is not of planet Earth.
Nope is a tremendous film from Jordan Peele that features great leading performances from Daniel Kaluuya and Keke Palmer. Along with its supporting cast, ravishing visuals, eerie sound work, a haunting music score, and its themes of exploitation. The film is definitely an unconventional yet riveting horror-suspense film that isn’t afraid to take on something big while also grounding it with a story of two siblings dealing with loss and wanting to avenge their father. In the end, Nope is a spectacular film from Jordan Peele.
Jordan Peele Films: Get Out - Us (2019 film)
© thevoid99 2022
Directed by Josh Cooley and screenplay by Stephany Folsom and Andrew Stanton from a story by Cooley, Folsom, Stanton, John Lasseter, Rashida Jones, Will McCormack, Valerie LaPointe, and Martin Hynes, Toy Story 4 is the fourth film of the Toy Story film series in which Woody, Buzz, and the old gang adjust to life under their new owner Bonnie who created a new toy out of a plastic spork she named Forky who deals with his being created and being a toy. The film is an unusual road movie of sorts that has Woody trying to help Forky with his new role in which the film deals with existentialism as well as the other lives of toys including Bo Peep who has lived a new life in the world of carnivals. Featuring the voices of Tom Hanks, Tim Allen, Joan Cusack, Annie Potts, Tony Hale, Jordan Peele, Keegan-Michael Key, Madeleine McGraw, Christina Hendricks, Keanu Reeves, Bonnie Hunt, Ally Maki, Jay Hernandez, Blake Clark, John Ratzenberger, Wallace Shawn, Timothy Dalton, Kristen Schaal, Jeff Carlin, Estelle Harris, and Don Rickles in a posthumous voice appearance as Mr. Potato Head. Toy Story 4 is a majestic and heartwarming film from Josh Cooley and Pixar.
The film is about a group of toys trying to help a newly-created toy made out of a plastic spork named Forky (Tony Hale) adjust to his new role though he considers himself to be trash only for Woody (Tom Hanks) to try and show him the importance of his role to their owner Bonnie (Madeleine McGraw). It’s a film that explores the idea of being a toy where Woody is aware that he’s being phased out unintentionally as he knows that Bonnie is having a hard time adjusting to growing up and going to kindergarten. The film’s screenplay by Stephany Folsom and Andrew Stanton explores not just Woody’s anxiety to make sure that Bonnie will be fine through this toy she made in Forky but also to see a world where toys can do so much more. Notably as Woody and the gang go on a road trip with Bonnie and her parents (Jay Hernandez and Lori Alan) where Woody notices Forky’s attempt to kill himself as he still thinks he’s trash. When Forky does escape from the RV and Woody tries to save him, they walk down to the nearest town where Woody discovers an old lamp at an antique store that his previous owner’s sister used to have.
It is in this town he reunites with Bo Peep (Annie Potts) whom he hadn’t seen in nine years after being given away to a new owner along with her three sheep as she has made a comfortable life traveling with a carnival of toys including the Canadian stunt toy Duke Caboom (Keanu Reeves), a couple of plush toys in Ducky (Keegan-Michael Key) and Bunny (Jordan Peele), and a pocket toy cop named Giggle McDimples (Ally Maki) who would help Woody retrieve Forky with Buzz joining to find Woody at the carnival as Forky meets a doll named Gabby Gabby (Christina Hendricks) who seems like an evil toy but is really an anti-hero as someone who never had a proper voice box nor was ever really played with. Caboom is a toy that believed to have failed his previous owner due to his inability to perform the stunts the commercial claimed the toy could do. It all play into this idea of existence which is quite bold for a film whose target audience is mainly children yet knows how to approach it without being too heavy-handed or complicated.
Josh Cooley’s direction opens with a flashback scene set nine years before the events of the main narrative is when Bo Peep and her sheep along with its lamp is being taken away where Woody has a conversation with Bo before her departure after saving R.C. from being swept down a drain storm. It then shifts into the journey that Woody, Buzz, Jessie (Joan Cusack), Mr. Potato Head, Mrs. Potato Head (Estelle Harris), Slinky the Dog (Blake Clark), Hamm (John Ratzenberger), the Pizza Planet aliens (Jeff Pidgeon), and Rex (Wallace Shawn) had taken as they would become part of a new family with Dolly (Bonnie Hunt), Trixie (Kristen Schaal), Mr. Pricklepants (Timothy Dalton), and Buttercup (Jeff Garlin) with Bonnie as their owner. With the aid of animation director Aaron J. Hartline, Cooley does broaden the scale more as it relates to the world that Woody and the gang embark on in this road trip while they’re keeping watch on Forky who is convinced he is trash where Cooley’s direction would maintain some intimate compositions in the close-ups and medium shots for conversations between Woody and Forky.
Cooley’s usage of the wide shots play into the scope of the world that Woody and the gang go to which is a traveling carnival along with a nearby antique store where Gabby Gabby and her army of ventriloquist dummies in the Bensons live in. With the aid of cinematographers Patrick Lin and Jean-Claude Kalache, Cooley would maintain a visual atmosphere inside the store including a few places that Bo knows where to go and hide while the exteriors of the carnival at night are among some of the great visual elements of the film. It add to the drama that Woody has to endure upon in his attempt to retrieve Forky where he also has to come to terms with the fact about all toys when they’re being phased out where Bo offers him a world that proves to be just as lively. Even as he would get Forky to understand his role and Buzz to take on a bigger role for Bonnie as it all play into the importance of toys in a child’s development but also what toys can do without their owners and help other toys. Overall, Cooley crafts a touching yet intoxicating film about toys dealing with their roles while helping a hand-crafted toy understand about his identity.
Editor Axel Gedde does excellent work with the editing as it play into some of the humor and drama with its usage of rhythmic cuts as well as a montage of Forky trying to destroy himself. Production designer Bob Pauley and art director Laura Phillips do amazing work with the look of the interior of the antique store as well as the design of the carnival and its rides as it add to the visual splendor of the film. Sound designer Ren Klyce and co-supervising sound editor Coya Elliott do fantastic work with the sound in some of the sound effects that are created as well as the layers of sound in the carnival scenes along with the broken voice box of Gabby Gabby. The film’s music by Randy Newman is brilliant for its mixture of lush orchestral music with a French-inspired theme for Caboom in his flashback and bits of country including a few original songs by Newman where one of them is performed by Chris Stapleton.
The casting by Natalie Lyon and Kevin Reher is incredible as it feature voice appearances from Red Hot Chili Peppers bassist Flea as a Duke Caboom commercial announcer, Bill Hader as a carny named Axel, Alan Oppenheimer as a clock known as Old Timer, Mel Brooks as dusty old elephant in Melephant Brooks, Patricia Arquette as the mother of a young girl named Harmony, Carl Reiner as a dusty rhino in Carl Reineroceros, Carol Burnett as a dusty chair named Chairol Burnett, Betty White as a toy named Bitey White, Lila Sage Bromley as a young girl named Harmony, Melissa Villasenor as Bonnie’s kindergarten teacher Karen Beverly, Ricky Henderson as a bobblehead figure of himself, John Morris and Jack McGraw in their respective roles as the older and younger version of Andy, and Laurie Metcalf as Andy’s mom in the flashback scene.
Other noteworthy appearances in voice roles include Jay Hernandez and Lori Alan as Bonnie’s parents, Carl Weathers as miniature versions of the toy Combat Carl, June Squibb as the antiques owner, Emily Davis as the trio of Bo Peep’s sheep, and Steve Purcell as the ventriloquist dummies in the Benson Dummies. Reprising their roles from previous entries, the voice performances of Jeff Garlin as the unicorn Buttercup, Bonnie Hunt as the doll Dolly, Kristen Schaal as the triceratops Trixie, Timothy Dalton as the hedgehog Mr. Pricklepants, Wallace Shawn as the T-rex Rex, Blake Clark as the slinky toy-dog Slinky, John Ratzenberger as the piggy bank Hamm, Joan Cusack as cow-girl Jessie with her horse Bulls-eye, Estelle Harris, as Mrs. Potato Head, and Don Rickles via archival material as Mr. Potato Head as they’re all fantastic with Cusack as the standout as Jessie rallying the toys with Rickles being one of two individuals that includes animator Adam Burke whom the film is dedicated to.
Keegan-Michael Key and Jordan Peele are excellent in their respective roles as the stuffed plush toys Ducky and Bunny as they both provide some great comic relief as two toys who have never been played with as they cause a lot of mayhem. Christina Hendricks is brilliant as the doll Gabby Gabby as a toy who had never been played with due to a faulty talk box as she is eager to have Woody’s talk box in the hope of being played with. Keanu Reeves is incredible as Duke Caboom as a Canadian daredevil toy that is known for his poses but is also filled with doubt as it relates to his inability to live up to expectations for his old owner. Madeleine McGraw is wonderful as Bonnie as a young girl who is dealing with growing pains as she becomes attached to her creation in Forky while becoming worried about his whereabouts. Ally Maki is amazing as the tiny pocket toy Giggle McDimples as a toy who is known for her giggles yet is also Bo Peep’s side kick of sorts as she is funny as well as being cool.
Tony Hale is marvelous as Forky as a spork turned into a toy by Bonnie as he copes with his anxieties and being about being a toy as all he’s known for is trash where he later understands the role of being a toy and his importance in Bonnie’s development as a person. Annie Potts is remarkable as Bo Peep as an old toy of Andy’s who has lived a new life traveling in the world of carnivals where she has found a new purpose to help out toys but also see the world. Tim Allen is sensational as Buzz Lightyear as the space toy who is Woody’s best friend as he deals with his own identity as someone that needs to be a leader and help Bonnie out in her development as he also copes his own identity as a toy. Finally, there’s Tom Hanks in a phenomenal performance as Woody as this cowboy toy who starts to realize that he is being phased out as he tries to help out Forky with his identity as he also tries to maintain his importance only to realize that there is so much out there as it is a great performance from Hanks.
Toy Story 4 is a tremendous film from Josh Cooley and Pixar. Featuring a great cast, gorgeous visuals, a sumptuous music score, and touching themes on existentialism and growing up. It’s a film that definitely does a lot to explore how much toys mean to children as well as the idea of being a toy in a touching and somber way. In the end, Toy Story 4 is a spectacular film from Josh Cooley and Pixar.
Pixar Films: Toy Story - A Bug's Life - Toy Story 2 - (Monsters Inc.) – (Finding Nemo) – The Incredibles - Cars - Ratatouille - WALL-E - Up - Toy Story 3 - Cars 2 - Brave - Monsters University - Inside Out - The Good Dinosaur - (Finding Dory) – (Cars 3) – Coco - The Incredibles 2 - (Onward) – Soul (2020 film) - (Luca (2021 film)) - Turning Red - (Lightyear) - (Elemental (2023 film)) - Inside Out 2 - (Elio) – (Toy Story 5)
© thevoid99 2019
Written and directed by Jordan Peele, Us is the story of a family who go on a summer vacation as their time of relaxation is shattered by the presence of their doppelgangers. The film is a psychological horror film that explores a family who meet people who look exactly like them but with elements that are totally different. Starring Lupita Nyong’o, Winston Duke, Evan Alex, Shahadi Wright Joseph, Tim Heidecker, and Elisabeth Moss. Us is an eerie and terrifying film from Jordan Peele.
A family travels to Santa Cruz, California for a summer vacation as their bliss is interrupted by people who are their doppelgangers as they would terrorize the family. That is the film’s premise as it’s really more about a woman who is still haunted by a traumatic event at the Santa Cruz boardwalk back in 1986 when she was a kid as she is convinced that her doppelganger is coming after her. The film begins with a sequence in 1986 where this young girl goes into a hall of mirrors place at the Santa Cruz boardwalk where she sees something and has been traumatized since. Jordan Peele’s screenplay does maintain this air of suspense and ambiguity as well as knowing when to use flashbacks as it relates to Adelaide (Lupita Nyong’o) when she was a child (Madison Curry). Going on a vacation with her husband Gabe (Winston Duke), their teenage daughter Zora (Shahadi Wright Joseph), and son Jason (Evan Alex). The first act is about Adelaide and the family arriving to Santa Cruz that is supposed to be fun as they also meet family friends in Kitty (Elisabeth Moss) and Josh Tyler (Tim Heidecker).
When Jason goes to the bathroom, he encounters something strange as it would set things up for what is to come later that night when Adelaide, Gabe, Zora, and Jason discover a family coming into their home as they’re wearing red jumpsuits, a glove in their right hand, and carrying a sharp pair of scissors. The second act isn’t just about Adelaide and her family dealing with their doppelgangers but also other doppelgangers who are trying to wreak havoc. Peele’s script doesn’t just play into Adelaide’s own memories from the past but also the intention of her doppelganger that also includes a warped version of the 1986 benefit event where 6.5 million Americans hold hands to form a human chain that was known as Hands Across America in an effort to fight hunger and homelessness.
Peele’s direction definitely echoes elements of 1980s horror but also elements of Alfred Hitchcock yet Peele aims for something that is atmospheric with a bit of social commentary and humor. Shot on location in Santa Cruz, California and nearby areas including Los Angeles, the film does play into this idea of a family summer vacation where there’s some shenanigans and other humorous moments. Particularly where Peele does play into Gabe trying to show his wife and kids the new boat he bought along with a moment of him in bed wanting to have some alone time with the wife. There are some wide shots in some of the locations including the film’s opening flashback sequence that includes a reference to a 1980s horror classic where the young Adelaide is with her parents (Anna Diop and Yahya Abdul-Mateen II) are taking her to the Santa Cruz boardwalk where her father is drunk and playing games with Adelaide being interested in her surroundings leading to the hall of mirrors. Peele’s approach to compositions for these moments are straightforward with its usage of close-ups and medium shots including a family dinner early in the film with Adelaide, Gabe, and the kids.
Once the family meet their doppelganger, Peele does maintain this air of unease into what this family is facing as many of the doppelganger don’t really say a word as a matriarch’s doppelganger would crow into the sky as a way of communication. Yet, it is Adelaide’s doppelganger Red that is able to say something intelligible but with a speech that is chilling. During its second act when Adelaide and her family try to escape, there are these moments of dark humor when the Tylers meet their own doppelgangers where Peele reveal the home they live in is spacious and very modern in comparison to the more quaint and humble home of Gabe and Adelaide. The film’s third act is about the discovery of these doppelgangers and their habitats but also reveal some deep ideas about humanity and identity that also relate to this biblical quote from Jeremiah 11:11. Overall, Peele crafts an unsettling and provocative film about a family’s summer vacation that turns into a nightmare by their doppelgangers.
Cinematographer Mike Gioulakis does excellent work with the film’s cinematography as it is largely straightforward for many of the exterior scenes in the day while maintaining some low-key lighting and moods for scenes set at night including at the homes of some of the characters in the film as well as the hall of mirrors. Editor Nicholas Monsour does brilliant work with the editing as it doesn’t dwell too much into style in favor of something more straightforward in its presentation along with rhythmic cuts that don’t play too long into scenes with some long shots. Production designer Ruth De Jong, with set decorator Florencia Martin and art director Cara Brower, does fantastic work with the look of the home that Gabe and Adelaide live in along with the home of the Tylers and the hall of mirrors. Costume designer Kym Barrett does terrific work with the costumes as it is largely straightforward with the exception of the red jumpsuits the doppelgangers wear as well as the masks that Jason and his doppelganger wear.
Makeup artist Sabrina Castro does nice work with the look of the doppelgangers in how they’re different from their real selves including what is under the mask of Jason’s doppelganger. Visual effects supervisor Grady Cofer is superb for the look of the doppelganger in scenes with their real selves as well as some set-dressing and material shown on 1980s television in those times. Sound editor Trevor Gates does amazing work with the sound as it help play into the atmosphere of the film as well as small sound effects and such that also build in the tension of the suspense and drama. The film’s music by Michael Abels is incredible with its haunting usage of vocal choirs, bombastic orchestral arrangements, and other eerie pieces that definitely recall some of the work of Bernard Herrmann in his collaboration with Alfred Hitchcock in maintaining a mood and tone for the film as it is a major highlight. The film’s music soundtrack is a wonderful mixture of music ranging from pop, R&B, and hip-hop from acts such as the Beach Boys, N.W.A., Janelle Monae, Minnie Ripperton, Luniz featuring Michael Marshall, Koffee, and Noname with Eyrn Allen Kane and Akenya.
The casting by Terri Taylor is great as it feature some notable small roles from Cali and Noelle Sheldon in their respective roles as Kitty and Josh’s twin teenage daughters in Gwen and Maggie as well as their respective doppelgangers in Io and Nix, Anna Diop and Yahya Abdul-Mateen II as Adelaide’s parents in the film’s flashback scenes as well as their doppelgangers, and Madison Curry as the young Adelaide as the young girl who encounters something terrifying in her own doppelganger. Tim Heidecker is superb as Josh Tyler as a guy who likes to drink and wear punk rock t-shirts where he is lazy while his doppelganger Tex is just a wild man that is sort of the opposite of Josh. Elisabeth Moss is fantastic as Kitty Tyler as a friend of Adelaide and Gabe who likes to drink and not do much as she plays the typical rich housewife while her doppelganger Dahlia is just fucking insane in terms of her facial expressions and physicality.
Evan Alex and Shahadi Wright Joseph are excellent in their respective roles as Jason and Zora as Gabe and Adelaide’s kids with Alex playing the young Jason who likes to wear a mask and do magic tricks while Joseph displays the trait of a typical teenager yet both prove that they can do some things and figure out how to outsmart their doppelgangers where Alex and Joseph both display a creepy vibe into their performances as their respective doppelgangers in Pluto and Umbrae. Winston Duke is brilliant as Gabe Wilson as a typical dad who likes to do silly things and listen to old music as there is a comic element to him but also someone who isn’t willing to take shit from his doppelganger Abraham who has a more intimidating presence due to his size and animalistic physicality. Finally, there’s Lupita Nyong’o in a phenomenal performance as Adelaide Wilson as Gabe’s wife who is still haunted by her childhood memories where she finds herself needing to protect her family while her doppelganger Red is just chilling in her physicality and in her speaking voice as it is truly a career-defining performance for Nyong’o.
Us is a tremendous film from Jordan Peele that features sensational performances from Lupita Nyong’o and Winston Duke. Along with its ensemble cast, riveting script, eerie visuals, intricate sound, and Michael Abel’s unsettling score. It’s a film that isn’t afraid to showcase its influences but also find ways to create a story that is willing to ask big questions about identity, race, and the faults of humanity. In the end, Us is a spectacular film from Jordan Peele.
Jordan Peele Films: Get Out - Nope
© thevoid99 2019
Written and directed by Jordan Peele, Get Out is the story of young African-American who is in an interracial relationship with a white woman where she takes him to her family home where he makes an awful discovery. The film is a horror film set in a quaint American suburb where a young man realizes what is going on as it relates to the world of white liberals and their ideas of race. Starring Daniel Kaluuya, Allison Williams, Bradley Whitford, Caleb Landry Jones, Stephen Root, Lakeith Stanfield, and Catherine Keener. Get Out is a thrilling and horrifying film from Jordan Peele.
The film follows an African-American photographer who reluctantly agrees with his white girlfriend to visit her family at their countryside home where he learns that the family’s African-American maid and groundskeeper act very strangely as is an African-American guest at an annual party. It’s a film that explore the idea of a world where a young man is about to go into a world that he isn’t sure would be receptive in as he arrives to this small countryside town where it is the opposite where he’s welcomed. Jordan Peele’s screenplay showcases why Chris Washington (Daniel Kaluuya) is reluctant to meet this family but he is calm by the reception he’s given though he notices a lot of odd things at the house where his girlfriend Rose Armitage (Allison Williams) lives with her family that consists of her neurosurgeon father Dean (Bradley Whitford), her psychiatrist-hypnotist mother Missy (Catherine Keener), and younger brother Jeremy (Caleb Landry Jones).
Dean and Missy may seem welcoming towards Chris as they both offer to help him quit smoking yet Jeremy is a little leery towards Chris. Jeremy doesn’t surprise Chris but it’s the housemaid Georgina (Betty Gabriel) and groundskeeper Walter (Marcus Henderson) who both sport these strange smiles just make Chris uneasy. When Missy converses with Chris, things take a weird turn as it relates to a tragedy in Chris’ life as it lead to moments that become offbeat to the guests Chris meets at this annual gathering Dean and Missy have every year. Notably as they’re largely white with the exception of an Asian and an African-American man named Logan (Lakeith Stanfield) who also acts odd as he’s in a relationship with a white woman 30 years older than him. The odd atmosphere and people Chris meets would have him asking many questions as it would lead to something darker prompting his best friend in TSA agent Rod Williams (Lil Rel Howery) to make some chilling discoveries of his own.
Peele’s direction does have elements of styles in terms of the camera movements he creates as well as the element of surrealism that looms throughout the film. Especially in the opening sequence in which an African-American is at a suburb calling a friend telling him about some fucked-up shit as he notices a white car is driving nearby and some weird shit happened. Though the film is set at upstate New York with a few shots set in New York City, much of the film is shot on location in Fairhope, Alabama and the city of Mobile, Alabama as it play into this idea of an idyllic countryside home near the suburbs in an autumn setting. Peele’s usage of the wide shots play into the vast scope of the exterior of the house while he would use some dolly-tracking shots for some unique medium shots to get a look at the interiors of the house. It would play into something that is idyllic but there is still something off as Peele’s approach to the humor is restrained while the drama is also low-key and straightforward. The second act in which the annual party with all of these guests is definitely an intriguing sequence. Notably in that restrained approach to humor where there’s subtleties into what these guests are saying.
When a moment at the party becomes chilling, it does create that sense of intrigue that Chris is dealing with as it confirms that something has been off the moment he and Rose accidentally hit a deer on their way to Rose’s family home. Peele’s direction would leave behind small clues such as a door that’s left ajar in Rose’s room as well as the behavior of the housemaid and groundskeeper whenever they approach him. The film’s third act is definitely a horror film but not in a gory nor in a conventional sense in comparison with modern horror. Instead, Peele takes his time to let things unfold while balancing that with some humor involving Rod’s own discovery and his need to seek out help. It all play into these ideas of social classes and race relations where Chris is aware of the way things are but never would realize how far some people would go to ensure African-Americans’ place into 21st Century society. Overall, Peele crafts a very witty yet harrowing film about an African-American’s visit to his white girlfriend’s family home where it’s not what it seems.
Cinematographer Toby Oliver does excellent work with the film’s cinematography from the natural and colorful look of the daytime exterior scenes to the usage of low-key lights for the exterior scenes at night as well as other lighting schemes to play into the suspense and horror. Editor Gregory Plotkins does brilliant work with the editing as it doesn’t devolve into conventional horror editing techniques as it plays more into building up the suspense with its stylish edits while using some inventive montages to help play into the suspense and surrealism. Production designer Rusty Smith, with set decorator Leonard R. Spiers and art director Chris Craine, does fantastic work with the look of the Armitage family home as well as some of its rooms and the apartment that Chris lives with Rose where Rod is watching Chris’ dog. Costume designer Nadine Haders does terrific work with the costumes as it is quite straightforward with the exception of the posh clothes of the party guests as well as the clothes that Logan wears.
The visual effects work of Paul Baran does superb work with the visual effects as it is largely minimalist for the deer-hitting scene as well as these surreal sequences whenever Chris is under a state of hypnosis where he’s in this strange world. Sound editor Trevor Gates does amazing work with the sound as it play into the atmosphere of the party as well as the way Missy would stir her teacup with a spoon as it adds a lot to the sound design as it is one of the film’s highlights. The film’s music by Michael Abels is incredible for its mixture of low-key orchestral music mixed in with some Swahili-inspired chants that include bits of blues to play into the suspense and horror while music supervisor Christopher Mollere provides a fun soundtrack that mixes pop and hip-hop as it features cuts by Childish Gambino, Flanagan and Allen, and Bill Medley and Jennifer Warnes.
The casting by Terri Taylor is great as it feature some notable small roles and appearances from Richard Herd as Dean’s father, Erika Alexander as a detective that Rod goes to in the third act, Marcus Alexander as the groundskeeper Walter, Betty Gabriel as the housemaid Georgina, Lakeith Stanfield as the odd yet young African-American guest Logan, and Stephen Root in a superb small role as a blind art gallery dealer in Jim Hudson who is interested in Chris’ photos. Lil Rel Howery is fantastic as Chris’ friend Rod as a TSA agent who house-sits Chris’ apartment and his dog where he would get calls from Chris about the trip as he notices something is off when he doesn’t get any calls prompting him to start his own investigation. Caleb Landry Jones is terrific as Rose’s younger brother Jeremy as a young man that doesn’t seem fond of Chris as he wants to practice jujitsu moves on him while being too eager to play into the scheme that is unveiled in the third act.
Bradley Whitford is excellent as Dean Armitage as Rose’s father and a revered neurosurgeon who is warm to Chris while being very odd in the way he approaches or converses with Chris. Catherine Keener is brilliant as Missy Armitage as Rose’s psychiatrist/hypnotist who is also warm to Chris as she is intrigue into the tragedy of his life as she would use it as a tool to get him hypnotized. Allison Williams is amazing as Rose Armitage as Chris’ girlfriend as this young woman who epitomizes kindness and free-thinking as she understands Chris’ reluctance to meet her parents while there is something off about her when she’s at her parents’ home where she adds a layer of creepiness to her performance. Finally, there’s Daniel Kaluuya in a remarkable performance as Chris Washington as an African-American photographer who gets invited to meet his girlfriend’s parents as he tries to remain calm and collective but notices something isn’t right as it’s a very restrained performance from Kaluuya that would eventually become more chilling as the film progresses.
Get Out is a tremendous film from Jordan Peele. Featuring a great ensemble cast, an eerie music soundtrack, themes on race and social classes, and an inventive and witty script that is willing to create discussion. It’s a film that is definitely explores the ideas of racism in a modern context and how people perceive others who are different as well as what they want to do in a modern world. In the end, Get Out is a phenomenal film from Jordan Peele.
Jordan Peele Films: Us (2019 film) - Nope
© thevoid99 2017
