Hustlers

Tags

2010's, Based on a true story, Cardi B, Constance Wu, Crime, Drama, Hustlers, Jennifer Lopez, Julia Stiles, Keke Palmer, Lili Reinhart, Lizzo, Lorene Scafaria, Mercedes Ruehl

Based on the true story of strip club workers scamming their clientele in efforts to make ends meet and sock it to the man, Hustlers is a colourful and surprisingly involving drama that makes time for comment on the strength of women and a sprinkling of humour. Also watch out for the talented cast, in particular a never better Jennifer Lopez.

It’s 2007 in New York, Dorothy(Constance Wu) is a young woman trying to make ends meet and help care for her ailing Grandmother. She’s working at a strip club, but not at all succeeding at making substantial money. Then she glimpses Ramona Vega( Jennifer Lopez), who is the resident queen bee that entices all with her sexy moves and charms. The two get talking and Ramona takes the inexperienced Dorothy under her wing and teaches her a thing or two. Dorothy soon goes by the name Destiny in the club and with Ramona’s guidance, starts to succeed. There’s a certain level of sisterhood between them that grows. Then the 2008 financial crash hits and things go south. Destiny discovers she’s pregnant and with business at the club running low and her boyfriend leaving her, she’s pretty desperate. The stripping business is not what it was and after meeting with Ramona( who she hasn’t seen in a long time), a plan begins to form. They will, along with other strippers that they know, make themselves available to men who are typically brokers or CEO’s on Wall Street , drug them and max out their credit cards. Although extremely dangerous, both women dive headfirst into this scam. Joining them are newbie strippers Mercedes and Annabelle( Keke Palmer and Lili Reinhart) who prove equally as adept at it. As the money rolls in things look good for the ladies, but soon greed begins to set in and events spin out of control for the merry band of women.

Lorene Scafaria is clearly a director who knows her craft and how to make a movie that entertains as well as invest you with its characters. Writing the script as well, she doesn’t condemn or condone what the women do and doesn’t exploit them endlessly in leering fashion either. Instead, Hustlers finds its footing presenting them as women pushed too far and hustling to survive in a cruel world that doesn’t reward the honest. Morality is a slippery slope after all and Hustlers presents that in fantastic fashion. In terms of highlights, watch out for Ramona’s sultry and commanding entrance which lets you know everything you need to about her without dialogue; it’s a standout sequence thats the definition of memorable. Scafaria references the work of the masterful Martin Scorsese in terms of bright visuals, montage and themes, with the good, flashy life of money and power slipping into chaos as things turn sour. places you right inside this world that the ladies are part of and pulls pulls you into their stories and reasons for taking part in a hustle. The world that they populate is best summed up by Ramona; who groups customers into ranks of how devious they are and how much money each is worth. Ramona is a pro at surveying people and a lot of the information we learn is through Destiny reiterating the words of this charismatic mentor. The framing device of Destiny/Dorothy revealing the details of the scams to a journalist played by Julia Stiles, who will write about it in the present, is cleverly employed and never too intrusive as to take us out of the film. A bit of repetition at the midway point can be pardoned for how the overall package is slick, thrilling and surprisingly evocative of the struggles women face and what happens when they take dangerous action. Mark my words, Lorene Scafaria is a director to watch out for in the future. While very much a drama, a liberal helping of humour abounds in Hustlers and is most welcome. Of particular note is the whip smart writing that allows for commentary on women taking control after being objectified and believably creating a camaraderie among the crew that feels very authentic. A killer soundtrack with some unexpected but fitting songs is a significant part of greatness in Hustlers and helps excel the narrative as it twists and turns.

Constance Wu heads the cast and is marvellous. Her curious face is our guide into Hustlers as she goes from downtrodden, vulnerable girl to successful woman, yet still retains a questioning backbone over her actions. She’s the audience surrogate but that is by no means a bad thing at all as Wu is simply stunning with both the humour and the drama. You truly feel for her too because of how convincing Wu is. What you’ve heard about Jennifer Lopez and her work in Hustlers is all true. Fierce, beguiling, bewitching and ruthless( but not without humility or compassion), Jennifer Lopez turns in career best work that reminds us what an actress she can be. Too often in the movies, she’s been in material that doesn’t show off her range( save for Selena and Out of Sight). Thankfully that’s been rewritten in Hustlers; she’s truly allowed to let her charisma and presence shine with alacrity, along with nuance and physicality. Trust me, Lopez is at the top of her game here and is worth every ounce of acclaim. She’s the main showstopper here and don’t forget it. Keke Palmer and Lili Reinhart both contribute plenty of energy and humour as the new girls on the block; both are given time to shine and develop their characters with humour and life. We have Julia Stiles as the journalist listening to the outrageous and audacious story and she displays a great amount of vacillating from feeling enthralled to being shocked at what she hears. She’s another pair of outsider eyes and ears in Hustlers and an effective pair too. Cameos from Cardi B and Lizzo are fun whenever they are present. I very much enjoyed the small but memorable role of Mercedes Ruehl. I found she injected great warmth and wisdom into her mother of the den part and I was entertained by her appearance here.

Stylish, highly entertaining but also insightful and filled with an array of talented actresses and director, Hustlers is one excellent and very surprising movie.

Advertisements

The Handmaid’s Tale Season 3

Tags

2010's, Alexis Bledel, Amanda Brugel, Ann Dowd, Bradley Whitford, Christopher Meloni, Elisabeth Moss, Joseph Fiennes, Madeline Brewer, Max Minghella, O.T. Fagbenle, Samira Wiley, The Handmaid's Tale, The Handmaid’s Tale Season 3, Yvonne Strahovski

Revolution is in the air and while still a dark show, Season 3 of The Handmaid’s Tale boasts a lot more hope than ever before. And this is for the best in a show that is certainly not the easiest watch, but rewarding in terms of acting and story. Be warned, spoilers may follow.

We pick up where Season 2 left off, with June(Elisabeth Moss) having given her newborn daughter to an escaping Emily( Alexis Bledel). She has decided to stay in Gilead to save her other daughter Hannah, who was cruelly taken from her years before. Plus, she’s still got an axe to grind with the horrifying regime that governs what was once America. She briefly returns to the house of slimy Commander Waterford( Joseph Fiennes)and his wife Serena Joy(Yvonne Strahovski), who was the one who handed the baby over to her in the hope that the baby will get a better life in Canada. Serena is starting to chafe at the system and in retaliation burns down her house, possibly setting the stage for her switch of allegiance. She’s in deep morning for her ‘child’ which could easily make her return to her normal cruel self though. June is sent to the home of Commander Lawrence(Bradley Whitford), who helped engineer Emily’s escape but whose true purpose and sense of trust are questionable. June however has her eyes set on rebellion and though some of her actions are questionable, she’s mainly playing the game in order to survive. She attempts to get Serena on side and persuade Fred to let her have a bit more power than women in Gilead have. But can either be trusted? Can Aunt Lydia( Ann Dowd) who begrudgingly seems to admire June’s opposition, be of any help? And can with an ongoing political struggle in sight can June ensure the safety of both her daughters? Plus, a visit from high powered and nasty Commander Winslow(Christopher Meloni) sets the scene for more shocks and horror as she exerts power and Fred craves it. June is somehow caught in the middle that leads to desperate circumstances. Meanwhile, Emily makes it to Canada with the baby and finds Luke( O. T. Fagbenle) and Moira( Samira Wiley), who offer support. Though things get difficult as Luke is having to raise another man’s child and still terrified about whether he’ll see his wife again. Emily is also struggling when she reunited with her wife and son as it’s been so long and they’ve been a part for what seems like eternity. This coincides with June becoming even more reckless and at times selfish, though she’s brought to her senses once more, thanks to Janine( Madeline Brewer) and the other Handmaid’s. This is where she really ramps up her campaign of striking back.

While continuing the story set up in the first two seasons, Season 3 of The Handmaid’s Take feels like something a bit different while still including the DNA that made the show connect with so many in this topical time. Some fans took issue with June’s last minute decision to stay in Gilead and not run to escape. While I can understand the gripes and though it was a surprise, on reflection it made a lot of sense. The thought of Hannah was what kept June going through her hellish ordeal of institutionalised rape and servitude that was punishable by death if not obeyed. I never believed June would just abandon her as she has been so key to the show and June’s voyage to rebellion. And the spirit of rebellion is shot through this season that still retains the starkness and darkness of what we’re used to, but embeds it with a feeling of underlying optimism that it has only hinted at in previous ventures. Don’t be fooled, this show still has its share of brutality, violence and horror and on those levels it delivers. I just couldn’t help but notice the building feeling of something good about to happen and action about to be taken. It’s a slow burner for certain but I like that about this season. It’s dialled back on some of the overriding gloom that perpetuated the first two seasons but not completely forgotten it. Everything is in the deliberate pace that convincingly lays the building bricks of revolution and how it’s going to occur from the inside. Some may find it slow going( there are some spots where a shot of quickness might have worked), but overall the burning feeling and realisation that revolution is nearing is impressively depicted.

The standout episodes are as follows. In ‘Unknown Caller’, the fallout begins when it’s discovered that Luke has Nichole and June is forced to identify her husband. We get June making an emotional phone call under duress to Luke, Serena seeing Nichole one last time and then falling prey to the manipulations of her husband and finally June’s glare to the camera when she realises she’s been stabbed in the back. It’s a rollercoaster of an episode that grips with how it unravels and the surprises of motivations and actions displayed. Following that is the topical ‘Household’ which deals with subjects of children’s rights, political agendas and the nature of possession. Secrets are also unearthed as June travels to Washington D.C.( which has been made over into a dictatorship) and discovers that lover Nick(Max Minghella) was not the man she thought he was and that he can’t help her in her hour of need . Plus, we are shown the horrifying extremes of Gilead as all the Handmaid’s are silenced by three piercings that keep their lips closed. It’s an often unexpected episode backed up by arresting cinematography, amazing set design that captures a world gone mad and excellent storytelling. Plus, in ‘Unfit’, we finally get some backstory on Aunt Lydia before the rise of Gilead. I’ve been waiting to discover the woman behind the brutality and it delivers. She was once a teacher who was dedicated to her young students and wanted the best. She befriended a young wayward woman whose son she taught and tried to help. After taking her advice and trying to seduce the principal, she was left mortified when he rejected her. I think her breaking point was the fact that in her mind she violated her religious beliefs and gave in to temptation. In retaliation and feeling embarrassed, Lydia phoned the social services on the young mother and the child was taken away.

A haunting hour is found in ‘Heroic’ which has June confined to a hospital as punishment for her treatment of a fellow Handmaid who now lies in a coma . The atmosphere is comparable with Kubrick in terms of how clinical and psychological everything looks and feels. It crucially brings June back to her usual self after she lost her way and became selfish and cruel. It’s an undoubtedly disturbing watch but one that starts the wheels of change again after she was at the point of near collapse. And the last few episodes are nothing short of exhilarating as plans are finally put into action and the tension rises. Though the first half of the season is the slow build, the last half is everything getting going and strike back beginning that will change everything. Pay particular attention to the finale ‘Mayday’ which is hands down one of the best episodes of the entire show. Though a show that is tough going, The Handmaid’s Take is gorgeously shot with dark hues but a more prominent brightness than before to reflect the burgeoning fire within June and the others who will help her. The trademark use of shallow focus especially when focusing on June and birds eye view shots of the Handmaid’s in ranks are stellar and cinematic in execution. Fine and often ironic song choices and a chillingly electronic score compliment the aura of eeriness and evinced hope.

Elisabeth Moss continues to excel as our main character. Those eyes and that face once more work miracles with the slightest of movements. She is a masterclass in emotion and revealing how June is both flawed(sometimes dangerously so and close to cracking) and driven by everything she’s experienced. It’s a layered performance that just keeps impressing upon every episode as we watch seething rage, hope, trepidation, questionable choices and bravery commingle . And it’s all down to the dedication with which Moss plays June that we are so enthralled by her presence. Yvonne Strahovski continues to vacillate between sympathetic victim and desperate yet icy madam. She straggles the two considerably and displays that Serena could both be an ally or an enemy to June and her mission. I liked seeing Strahovski expand on Serena and watching her both fight against and embrace Gilead. Complimenting her is the on form Joseph Fiennes who knows how to play a nasty piece of work. Commander Waterford is one of those characters who is completely up themselves so it’s nice to see him start squirming and becoming a little subservient to those higher than him. And watching Fiennes show the emotion of his power slipping away is more than a tad satisfying.

Anne Dowd is once more knocking it out the park as Aunt Lydia, who is explored with depth. The dichotomy of kindness and viciousness is sublimely acted and we never quite know which incarnation we will get. Kudos to Ann Dowd for her complex portrayal of someone following shocking orders and thinking they are doing the right thing in their own warped mind. In Canada, the series regulars are just as impressive, even if they are seen less than the Gilead counterparts. Standing out is Alexis Bledel as the now free Emily, whose adjusting t her new life with a mix of relief and trepidation. You feel immense sympathy for her as she’s now escaped but still has a certain cage in her mind from everything she’s been through. Bledel sells these varying feelings with sincerity and conviction. And although they aren’t as prominent as before, O. T. Fagbenle and Samira Wiley give personality and heart to survivors of the regime, building some form of normality for themselves. By far one of the most interesting characters is Commander Lawrence as he’s pretty inscrutable and Bradley Whitford is a masterful actor taking delight in exploring the contradictions of the part. One moment he’s helpful and rebellious, the next he’s shut off and cruel and that’s what is so fascinating as he could either be ally or enemy. Christopher Meloni brings considerable strength and sliminess as a high powered Commander. There’s something in the way he speaks and moves that immediately intimidating and nasty; Meloni is obviously enjoying being really able to explore a most vile character in detail. She’s been in the background and occasionally been popping into something substantial, but here Amanda Brugel is given more to do as the Martha Rita. Her quiet dignity and immense strength in playing the game that Gilead has started is admirable and I loved seeing her come into her own. Madeline Brewer is again impressive as the vulnerable Janine, who seems to be everyone’s punching bag of late but who still finds a way to muddle through the pain. The main person who isn’t given a lot to do is Max Minghella, who appears in the first half of the season and is then missing. We do learn something interesting about Nick as a character, but I’d like it if he’d been in it a bit more. This is a minor gripe though in a season that’s incredibly well acted.

A far more hopeful but still bruising and stark season that starts slow and builds to a powerful finish, Season 3 of The Handmaid’s Tale is extremely well acted and thought provoking viewing.

Lizzie

Tags

2010's, Chloë Sevigny, Craig William Macneill, Denis O'Hare, Fiona Shaw, Jamey Sheridan, Kim Dickens, Kristen Stewart, Lizzie, Psychological Drama

Inspired by the real life story of Lizzie Borden, who was accused and then acquitted of the murders of her father and stepmother, Lizzie is a tense psychological drama that puts its own spin on what drives someone to commit murder and it’s own turn on whether or not it believes Lizzie was innocent or guilty.

It is 1892 in Fall River, Massachusetts and Lizzie Borden( Chloë Sevigny) is a woman living under the tyrannical eye of her penny pinching father Andrew( Jamey Sheridan). She’s an independent woman who is different from the subservient kind of lady that was expected at the time and one who in subdued but defiant fashion, scoffs at the system around her. Lizzie also experiences violent seizures, which her father believes is a form of attention seeking. She’s not helped by her stepmother Abby( Fiona Shaw), and her sister is Emma( Kim Dickens) sweet but unable to stand up to. Lizzie is locked in a constant war with her father, with the threat of being sent away to an institution always hanging over her. Into the gloomy household comes the innocent Irish maid Bridget( Kristen Stewart). She’s a bit naive, illiterate and just trying to get along in life with what she’s got. takes a sickening liking to her and starts to visit her room nightly so he can sexually abuse her. Bridget is too terrified of losing her job that she doesn’t tell anyone, but Lizzie finds out. She also discovers that her father has been scheming with her nasty uncle John(Denis O’Hare) something dishonest and underhand about inheritance. Both things infuriate Lizzie and her independence in life and further cause tension with her horrible father. Growing closer to Bridget, the two women form a romantic relationship. It proves to be a solace from the grimness of their lives, but soon discovers it.Soon things reach a head for everyone which results in gruesome death and a trial that involves all.

Craig William Macneill ably directs this film with a keen sense for atmosphere and content. His concentration is largely on the accused Lizzie Borden and her fiery independence in the face of restrictive times that were governed by the patriarchy. His. keeps events very on edge, making the slightest of changes or events matter in the grand scheme of things. Macneill employs an almost unbearable level of tension within the confines of a household; eliciting a claustrophobic aura that transfers to the viewer. Unlike other movies about murders that are still debated and explored, Lizzie takes the side of the allegedly murderous Borden and unravels what might have drove her to commit the crimes she was charged with and then acquitted of. It sets off the dark family angle; all stifled emotions and the overarching tyrant of a father desperate to exert control over the largely female household. Lighting is a key element of Lizzie; either blindingly bright in a beautiful manner(for when Lizzie and Bridget find passionate escape from life) or for the most part shadowy and within the confines of an austere home where emotions struggle to stay under wraps. An up close camera that often lingers on faces and events, while occasionally becoming unrestrained, is employed to capture the burning desire to break free that Lizzie has and how both she and are hemmed in by a society that believes it’s already chosen their destiny. There’s nary a wasted shot in the film and that’s down to the and the cinematography of Noah Greenberg, who are very in sync with what they want from this project. The music, with its high peaks of near horror influenced strings and pulses, keeps things on a knife edge as the day of blood beckons.

Chloë Sevigny is a force of nature as the eponymous Lizzie. She bristles with stoic anger and has an unblinking quality that sets the screen alight. Sevigny has long been an actress I’ve admired and she once more provides compelling viewing with a forceful portrayal of a woman trapped in a time that doesn’t fit and slowly taking devastating action against it. In short, Sevigny is magnetic as Lizzie; discovering a smart woman whose bullied and abused but not above fighting back against it, ultimately in brutal fashion. The ever watchable Kristen Stewart, who for me has matured a lot as an actress over the last few years, is equally as compelling as her eventual lover. There’s a quietness to Stewart here that’s none the less intense and waiting to be unleashed, as her green outlook is changed and she finds strength within herself thanks to Lizzie. Both ladies have a palpable chemistry that provides the centre of the narrative and truly the main respite for these two women. Kudos to both Sevigny and Stewart for creating such a believable bond. Jamey Sheridan is ideally cast as the powerful, grasping and completely wretched father, who seems to delight in exerting his male dominance over others. It’s a credit to Sheridan that you feel the revulsion shared by Lizzie and Bridget for this man, as he’s just that get at getting under your skin as a completely snake and fraud. And Denis O’Hare, who is one of the most underrated actors out there, sinks his teeth into the part of the poisonous uncle with malice in every fibre of his being. Fiona Shaw manages to be both seemingly vindictive and alternately switched on to events around her; with just a look, we know exactly what she’s thinking.Kim Dickens isn’t really given much to work with but is pleasant enough in her small role.

A chilling yet eye opening drama with an emphasis on the psychological and fine acting, Lizzie is a fresh spin on the infamous murders that finds its fascination with events behind the scenes and their devastating impact.

 

Yesterday

Tags

2010's, Comedy, Danny Boyle, Drama, Ed Sheeran, Himesh Patel, Joel Fry, Kate McKinnon, Lily James, Music, Richard Curtis, Romance, Yesterday

Danny Boyle directs this warmly engaging tribute to the Beatles and the journey of love in a film that’s inviting without being cloying. Yesterday is the definition of a feel good movie.

Jack Malik(Himesh Patel) is a struggling young man whose passion is singing but whose never had success. He’s beginning to see that it might be the end of the road in Lowestoft as he’s not amounted to much. His best friend and manager Ellie( Lily James) attempts to sway him into not forgoing his dreams as she believes in him. This is coupled with the fact that she is desperately in love with him, though Jack has never noticed it. He is on the verge of giving up when something unusual happens. He’s riding home on his bike one night when a global power cut ensues and coincides with him being hit by a bus. Thankfully, he lives and though injured will recover. But once he comes around, Jack notices one strange fact about the world around him: no one remembers The Beatles. At first, Jack things it’s a bit of a joke but a few searches online reveal that all knowledge of them has been wiped. This in turn has led to other things not being remembered but the big one is the iconic Beatles. Jack starts to sing their music as if it’s his own to bring it the attention it deserves. This backfires as people assume he has written these classic songs and he starts to become successful. Even Ed Sheeran is impressed and his manager Debra(Kate McKinnon), who worships at the altar of greed and business, snaps Jack up. Soon he’s famous for singing these songs, but struggling with his own feelings of guilt that started off  as him trying to be good. Yet just how much longer  can Jack live a lie? And what of his relationship with Ellie, who obviously loves him?

Though it isn’t the first film to come to mind when I think of Danny Boyle’s directing, Yesterday shows him in mellow but touching mood. His eye for detail is very much on show with canted angles to signify the world being upside down for Jack and some pretty groovy transitions. Thinking on it, of late the underdog story has featured in Boyle’s films, only this time there’s a lot more laughs that show the director having fun. It’s aided by a winning script by Richard Curtis that mixes sarcastic humour and life-affirming love. Curtis often features lovable losers in unusual circumstances or being tested and Jack is no exception. The observations of what might have been without The Beatles are both funny and reflective, particularly in the last third where things get somewhat poignant. There’s a what if angle to a lot of Yesterday that’s delightfully daffy yet retains an emotional impact. And there’s a neat little unexpected twist that is very intriguing not to mention surprising. But because I’m a good guy, I shall not spoil it. Yesterday is t perfect and some areas seem overly familiar, but from an overall viewpoint, it’s a very nice experience and one that will leave you smiling.  Hearing the music of The Beatles is always welcome to my ears and hearing them performed with zeal and resonance in Yesterday is splendid. And I can’t not mention the romance of this film, which is tentative at first but eventually blooms as Jack realises just how important and loyal Ellie is to him.

Himesh Patel, who is best known for starring in Eastenders, is superb in the lead role of sympathetic Jack. Though his actions get him in trouble, he’s a character who tries to do the best and Patel brings that out of the part with a combo of subtlety and comedy. I hope to see in more movies as he’s really got potential as an actor. And I can’t forget his singing, which is also worthy for praise. Alongside him is the luscious Lily James, who is steadily becoming a very reliable actress. Her quirky mannerisms, winning smile and downright adorable nature are on full display for a lovely performance. You can’t help but fall in love with Lily James here. Ed Sheeran shows he’s not afraid to parody himself with a tongue in cheek role as a version of himself. I must say he does elicit quite a few laughs. Speaking of laughs, Joel Fry contributes fine humour as Jack’s right hand man whose not the brightest person, but who’s goofy heart is very much in the right place. On the other scale of laughs is Kate McKinnon who is simultaneously a ruthless bitch after money and an unhinged hoot The balancing act is effectively walked by McKinnon who is obviously revelling in being devious.

Capitalising on a strange but impressive premise and directed with skill by Danny Boyle, Yesterday is a charming, thoroughly enjoyable film, enlivened by the music of the Beatles and work of Himesh Patel and Lily James.

Midsommar

Tags

2010's, Ari Aster, Florence Pugh, Horror, Jack Reynor, Midsommar, Psychological Horror, Vilhelm Blomgren, Will Poulter, William Jackson Harper

Ari Aster follows up his creepy and startling debut Hereditary with Midsommar; an ambitious, head-spinning horror that builds to a stocking finale, while supplying tension, tiered meanings and an immensely dedicated performance from Florence Pugh.

Dani( Florence Pugh) is a young woman who’s just experienced a gut-wrenching trauma. Her bipolar sister committed suicide via inhaling carbon monoxide and killing her parents as well. Broken by this, Dani turns to boyfriend Christian( Jack Reynor) , who is not exactly helpful and more interested in himself. Their relationship was precarious as it was and now Dani leans on him for support which he is unable to supply her with. A few months pass and Christian, who is studying anthropology for a PHD, is invited by his Swedish friend Pelle(Vilhelm Blomgren) to a festival in his Nordic homeland. He is to be joined by fellow students reasonable Josh( William Jackson Harper) and obnoxious Mark(Will Poulter). Dani finds out and Christians reluctantly asks her to come with them, to which she accepts. She’s still reeling from her trauma and suffering with depression and anxiety, but the trip sounds like a good getaway for her. Touching down in Sweden, they go back to nature among the wide fields and mountains that are populated by a commune. Dani and the others are soon witness to the ways in which they celebrate and their intriguing but slightly off kilter ways of ritual and worship. At first, the practices seem odd but just slightly different and nothing too serious. There’s dancing, ingestion of strange ingredients with hallucinogenic qualities and the fact that everyone does things in a group which while weird doesn’t really give the impression of anything dark or macabre. Yet with growing horror, events get ramped up and grisly horror ensues for the visitors, most of all fragile Dani. What started out as a sojourn to a festival with a difference slowly morphs into a waking nightmare for Dani as things just get more and more intense, impacting on her already tenuous mental state.

Ari Aster proves Hereditary was no fluke with this electrifying and bizarre blend of psychological folk horror and a meditation on trauma. He goes for the creeping approach, peppering in shocks and even snippets of humour at the start then slowly bubbling away at the uneasiness mounting like a fit to burst volcano. Grief seems to be a subject with which Ari Aster is familiar with and Midsommar continues in that vein but from a more surreal and grander scale. The most obvious comparison to Midsommar is The Wicker Man. Both films feature a community that’s pagan religion deviates from what is deemed traditional and most of the action takes place in sunlight. References can be seen and are well done( for me it’s a high comparison with a classic), but Midsommar is its own film with a hallucinogenic sensibility and layered drama. While very much a horror film, Midsommar functions as an exploration of reaction to trauma, purging the soul and toxic relationships. The last mentioned point on relationships is especially true as things continue to go downhill for Dani. The horror hits home more for that very reason and then some. I believe Midsommar is the type of movie that is rewarding upon watching again. Pockets of information are scattered often in plain sight but make more sense once the whole picture comes together with frightening force. You’ll be left thinking about the film no matter how you feel about it that’s for sure and certain.

On a visual level, Midsommar is an assault on the senses. From a flipped shot that goes upside down in arresting fashion to the houses the commune live in that are decorated with telling murals, you can’t escape the sensory overlord and beautiful cinematography. The use of wide shots and aerial shots captures the surrounding in majestic form, fleshing out the setting that is as breathtaking as it is unsettling. Bathing events in a mostly bright sheen, horror plays out against flora and fauna in a most peculiar way. The setting is alive, quite literally in some parts as you’ll no doubt be witness to if you venture out to see Midsommar. One of my favourite touches is Dani among the ladies dancing around in circles, adorned with a flower headdress. It’s a scene that overlaps images to a dazzling effect and perfectly sums up the unusual stance of this movie. It’s spellbinding even when outrageous and stomach churning festivities are taking place, making sure you never quite look away from what’s presented to your eyes.The use of sound is exemplary, from the unusual rhythms and punctuated noises to the eerie sense of silence and stillness. It compliments the atmosphere of something being very sinister and extremely horrifying to come.

At the heart of everything is the promising Florence Pugh. Over the last few years she has impressed me with her versatility and she doesn’t disappoint with her performance  in Midsommar. She’s contained and crumbling under the burden of grief, constantly attempting to stifle her feelings. When it all comes out, Pugh nails the anguish and the sense of release, coupled with the slow and crushing sense of falling deeper into horror( or is it something else?) Her eyes are fascinating at profiling her internalised emotions that eventually reveal themselves with shocking intensity and surprising depth. Put simply, Florence Pugh impresses throughout with her surrender to challenging material. Jack Reynor nails it as the conceited boyfriend who gets put through his own horror and Reynor shines in the horrifying last act. Vilhelm Blomgren, William Jackson Harper and Will Poulter flesh out the other men of the movie who experience the terror unfolding, with Will Poulter the most memorable as the guy obsessed with getting sexy action and getting a lot more than he bargained for. As good as the guys are though, Midsommar belongs to the exceptional Florence Pugh who is for my money, going places.

Horrifying, hypnotic and hard to forget, Midsommar is one of the most unsettling films I’ve seen in a while. But like it’s predecessor, once you’ve viewed it, you can’t shake it. Ari Aster is shaping up to be a major league director and Florence Pugh is fast becoming a prominent and talented actress to watch.

Hereditary

Tags

2010's, Alex Wolff, Ann Dowd, Ari Aster, Gabriel Byrne, Hereditary, Horror, Milly Shapiro, Psychological Horror, Supernatural Horror, Toni Collette

A visceral, emotionally haunting and horrifying psychological horror from the debuting Ari Aster, Hereditary plunges you into grief, family secrets and the terror of what we might inherit from our relatives.

Annie Graham(Toni Collette), a miniatures artist, is mourning the death of her secretive mother. She is joined in this by her therapist husband Stephen( Gabriel Byrne)and their two children; bored and dejected 16-year-old son Peter( Alex Wolff) and unusual tomboy daughter Charlie( Milly Shapiro) . The thing is Annie was estranged from her mother and various things in her past impacted their tenuous relationship. while young Charlie, who was her Grandma’s favourite, begins acting even more strangely than usual. Soon enough, a strange force begins plaguing the family. Though she secretly visits grief counselling for guidance, Annie believes she sees her mother again, Charlie also sees visions of this along with unusual phenomena. Peter buried his feelings in smoking pit and trying to get girls but tragedy brings him back around. Stephen is the main point of attempted calm in a powder keg situation that slowly starts to unravel. It all pertains to the deceased Grandmother, but how does it? As grief and tragedy plunge the family further into turmoil, Annie starts to lose her grip on her sanity and events descend into a waking horror for the Graham’s. Matters aren’t helped by the arrival of Joan(Ann Dowd), a mysterious woman who ingratiates herself into Annie’s life with shocking results.

Ari Aster marks himself out as a director with a future. He’s clearly a guy who loves his  spine-chilling, psychological horror and Hereditary is a testament to that. He’s got a fantastic handle over pacing; slowly dropping crumbs of information and things you think are just accidental, but are intentional. It’s a slow burn that’s punctuated by moments of shock horror and extreme situations, while still examining the ups and downs of grief in a bubbling way. Then when we get to the heart of things, all hell breaks loose and Aster unleashes chilling moment after moment. Be warned, the last half an hour is some intense stuff that will make even the most seasoned horror viewer sit up and be freaked out.

You’ll be left with images of great horror and of an unsettling nature once you finish Hereditary. And with good reason as they are plentiful and a credit to the visual team and the exploration by Aster. From slowly zooming camerawork to a mastery over sound( the sound of a tongue clicking will haunt your dreams as will Colette’s roars of grief and an intense dinner scene) , it’s a movie for definite horror fans. The claustrophobic atmosphere, heightened by the abundance of scenes within the family’s large house, helps us ruminate in how grief can isolate is and how familial ties are not always . This film isn’t full of cheap scares as it has more on its mind. Take for instance when Annie believes she sees the ghost of her mother. Most horror films would feature a sudden reveal, not here. Instead, Aster uses a wide shot and gets the audience to really pay attention as to see whether it was real or not, as if daring us not to trust our eyes. I admired Hereditary for the fact it didn’t have to resort to throwaway scares. Hereditary is certainly not for everyone, but for those with a penchant for dramatic scares and unusual imagery, this should be a treat. A rumbling score is the cherry on top of the cake as murmurs, low electronic humming and unusual instances of cacophony blend hauntingly.

One of the finest things in Hereditary is the committed performance from Toni Collette, who turns in some of her finest work. She’s put through the wringer of emotions and just displays them all so convincingly and vividly. From grieving daughter to mentally unstable and all that’s in between, Collette doesn’t miss a beat and often conveys varying feelings within seconds of each other. One can’t stress enough the sheer full throttle force with which she acts here. It has to be seen to be believed and experienced. Gabriel Byrne provides solid support in a role that could have been boring, but rises above such worries. He’s the non believer trying to keep his family together but failing as times passes. Alex Wolff gets the alienated and confused state of mind for his character just right, going between moments of escaping pain to enduring intense suffering that makes no sense to him. Rounding out the family is young Milly Shapiro, who sends shivers down the spine as the daughter seemingly most affected by her grandmother’s death. You never quite know what to make of this little girl but she is damn important to the story. In a small but pivotal role, the ever reliable Ann Dowd exudes an uneasy sense of niceness that is tempered with something that tells you that you can’t trust her as far as you can throw her.

Super unsettling, packed with ideas and thematic value, plus boasting impressive acting and an atmosphere of never ending dread, Hereditary is definitely for those who appreciate a slow burn and a searing drama within a horror movie.

American Horror Story: Hotel

Tags

2010's, American Horror Story, American Horror Story: Hotel, Angela Bassett, Cheyenne Jackson, Chloë Sevigny, Denis O'Hare, Evan Peters, Finn Wittrock, John Carroll Lynch, Kathy Bates, Lady Gaga, Lily Rabe, Mare Winningham, Matt Bomer, Sarah Paulson, Wes Bentley

With Freakshow emerging as my least favourite season of American Horror Story, my expectations were high for Season 5. Thankfully, though not without some flaws, Hotel is a resounding success of horror, style and game acting. Be warned, spoilers may follow in this return to form for the show.

John Lowe( Wes Bentley) is a Los Angeles detective on the edge; he’s estranged from his doctor wife Alex(Chloë Sevigny) and on the hunt for a brutal serial killer who murders victims in accordance to The Ten Commandments. Plus he is haunted by the disappearance of his young son Holden years prior. He feels responsible for the disappearance and this is what he has to live with every day. One day he is given a tip off that his answers can be found in the Hotel Cortez. A glamorous yet run down establishment with a history of horror, it soon pulls John into its depravity and history of death. The owner of hotel is the fabulously dressed and very mysterious Countess( Lady Gaga). She is a vampire like creature infected with a virus that leaves the sufferer craving blood. Her companion of late is the handsome Donovan(Matt Bomer), who she goes hunting with. She was the one who took Holden as well as other children who she turns into creatures like her in order to create something of a makeshift family. She is a fearsome creature, but is secretly hiding her true self and tragic past. The Countess finds her head turned by volatile male model Tristan( Finn Wittrock) , which enrages Donovan. Also in her sights are the soon to be owner Will Drake( Cheyenne Jackson), a fashion designer who doesn’t realise he’s part of a scheme to get his money. There’s the ghost of James Patrick March( Evan Peters), the founder of the hotel in the 20’s, who turned the place into a murder palace and was helped by the ever loyal, cleaning fanatic Miss Evers( Mare Winningham) . On front desk there is Donovan’s surly mother Iris(Kathy Bates) who longs for a relationship with her son and Liz Taylor( Denis O’Hare), a transgender bartender who seems to see everything and everyone. Also traipsing about the Hotel is the ghost of one Sally McKenna(Sarah Paulson), a trashy junkie in a constant state of sadness and mania, who was pushed out of a high window by Iris for getting Donovan hooked on drugs in 1994. Arriving later on the scene is Ramona Royale( Angela Bassett) a former lover of The Countess with a big axe to grind. Everything comes to a head once John takes up residence and gets a lot more than he ever bargained for.

I think straight from the opening, Hotel stands higher than its season just passed. For starters, I found the characters had more flavour and personality than in the last season. Plus, you could connect with many of them too, primarily Liz Taylor and Iris who both convince as outsiders wanting something more in life. And though the story had many different angles and sub plots, it largely worked and it was fun seeing how various threads connected. Sure, some parts don’t amount to much, but I found it a lot more compelling than which seemed to run out of steam rather quickly. The themes of loss and rebirth form the main crux of Hotel and it was excellent how we watched the characters change and influence one another. Hotel ranks at least in my book as the bloodiest season thus far. As it has done in the past, the blood is shocking and grisly, but definitely used to fashion a twisted delight that scares and compels at the same time. Scenes that stand out for their brutality are The Countess and Donovan slaughtering a couple during sex, a junkie being mercilessly abused by a faceless demon, a corpse rising from a rotting mattress and most shocking, a band of infected children making a meal out of one of their teachers.American Horror Story references some of the best content in the horror genre with style and panache. The crimes of the killer are a stylish homage to Seven, while the hotel of the title takes its cues from The Shining. And I’m a big fan of the flashbacks to March’s mayhem and murderous ways as the show employs a grainy black and white to emulate the time and bring out events in horrifying detail.

As it has done in the past, American Horror Story always succeeds when taking influence from real life events. Here, the hotel is similar to that of the one the depraved murderer H.H. Holmes and the poor fate of the child of chambermaid Miss Evers blends with that of the Wineville Chicken Coop Murders. And the best of all the real world allusions is an episode entitled ‘Devil’s Night’. In it, March hosts a feast for the ghosts of dead serial killers, such as Jeffrey Dahmer, Richard Ramirez, Aileen Wuornos and John Wayne Gacy. An already starting to lose it John finds himself thrown into this horror show and under the influence of absinthe, watches as these killers enjoy their depravity and find merriment in their sickening handiwork. Watch out for memorable work from John Carroll Lynch and Lily Rabe. For some reason, its something that works in the scheme of the show. Visuals are a strong component in the show and Hotel is no exception right from the opening frames. It’s an extravaganza for the eyes and senses that’s for sure and certain. Particularly good is the fish eye lens employed at times that suits the unstable nature of the establishment and turns things into something unusual. I’m not the biggest fan of the overlapping of seasons as American Horror Story was originally billed as an anthology. Though saying that while some of the bringing back of other characters fails, I found the callbacks to Murder House were particularly effective and the return of the medium( also played by Sarah Paulson) in the finale was a very well handled part and one I really liked seeing. And I can’t not praise the production department who pull out all the stops when it comes to design. The Cortez becomes a dark hotbed of violence and style, clashing with each other with reckless abandon. A well chosen soundtrack and electric, humming score add further to the delirious ride through death, horror and story.

The cast surrender to the madness and horror with fantastic results.Leading the cast is the new addition of pop superstar Lady Gaga, who shows that acting is yet another skill in her arsenal. She plays the Countess as a seemingly aloof being who dresses and lives to kill, but is looking for something more. Her performance is very multifaceted and extremely impressive at showcasing various sides to the character, in particular deep tragedy coupled with ruthless sex appeal. Then we have Wes Bentley, who is suitably intense as the emotionally scarred detective finding himself falling into madness. He just burns across the screen with a vulnerability, quivering seriousness and frightening devotion. Matt Bomer, with his strong appeal and good looks, is ideal as the latest lover in the life of the Countess. He enjoys the position but it has grown a tad stale for him and his resentment starts to form. Plus, when he’s with Lady Gaga, they make a sizzling duo. As the new paramour of The Countess, Finn Wittrock is all scowls and attitude, with a few other layers underneath. Chloë Sevigny, who I’ve always admired as an actress, turns in emotional weight and desperation as a grieving mother who goes to extremes for her son. I liked her arc in this series as she begins as a broken woman and slowly gets in touch with another unexpected part of herself.

The best performances comes courtesy of Denis O’Hare, Kathy Bates , Evan Peters and Sarah Paulson. It’s good to see a transgender character portrayed on television with respect and honesty and Denis O’Hare acts his socks off. From the great one liners through the backstory of the transformation into the person she is today, it’s all played beautifully and sympathetically by the always watchable Denis O’Hare. Thankfully in recent times, many forms of media have followed suit by showcasing characters that are transgender and actually treating them with understanding and decency. Long may that continue. Ably complimenting him is the excellent Kathy Bates, who puts in another fantastic performance . Going from dark humour to crushing sadness and then a rebirth, Bates captures the attention with her convincing acting and A Game. The always impressive Evan Peters, playing probably his most extreme character thus far, is electrifying. Mixing a Clark Gable accent with a sadistic hunger for murder, he crafts March as a supreme being of evil that is strangely charming. Peters turns in one of his finest performances in the run of the show. Rounding out the standout quartet is the wonderful Sarah Paulson. Always seen here with a mournful look( complete with smudged eye liner and the appearance of never ending tears) that also shares itself with a sly underbelly, her portrayal of the messed up Sally is riveting. You really don’t know what you’re going to get with her character and Paulson rocks it. I adore Angela Bassett and how she embraces the outrageousness of the material. She just embodies the sassy, fierce and out there nature of American Horror Story. And even if her character’s arc doesn’t feel well utilised enough, Bassett makes it sensationally watchable all the same. Providing the unusual but also tragic is Mare Winningham as the chamber maid with a love of cleaning. At first glance she’s strange and you don’t know what to make, but Winningham discovers pathos and depth in this woman who could have just been one dimensional. The main cast member who isn’t really given a chance to make an impression is Cheyenne Jackson. I’ve seen him in other things and think he’s a good actor, but he just doesn’t really get a look in here.

Hotel finds American Horror Story back in fine fettle, owing to well written characters, a theatrical staging and plenty of chills.

Nothing Like a Dame

Tags

2010's, Documentary, Eileen Atkins, Joan Plowright, Judi Dench, Maggie Smith, Roger Michell

This review that follows will be a first for me on this site. It will be the first review of a documentary and what a great one to start with. It’s Nothing Like a Dame, which has us in the company of the great women of stage and screen.

In the English countryside, we meet with icons Judi Dench, Maggie Smith, Joan Plowright and Eileen Atkins. All of them Dames and acting greats. They are conversing and reminiscing at the country house of Plowright, that she owned with her late husband Laurence Olivier. And boy is it entertaining to see them all together and in fine form. With careers spanning decades, there is no shortage of conversation here. It’s such a simple idea of watching these four wonderful ladies reflecting on life and their careers, which are extremely eventful.

Director Roger Michell keeps things low key and lets the ladies do their thing. This in turn brings out wonderfully natural results as Michell doesn’t feel the need to be flashy to be seen as good. He knows that the strength of these four dames is all he needs for this compelling documentary. I seriously want to see this quartet in another movie together. It would be a complete riot and so enjoyable. You can feel their friendship and years of experience are strong and full of energy and wisdom. They are by turns funny, irreverent, classy and humorous, with plenty of time for deep reflection on life and family. Hearing them speak about family has a certain poignancy to it. You can see the humanity of their situations and even though they are famous, they are still very much down to Earth in the grand scope of things. They’ve all seen a lot and experienced a lot too and it definitly shows their resilience. And Maggie Smith is on point with her acerbic wit, that is matched by Judi Dench( just check out her reaction to a medical worker treating her like just another old biddy). The other ladies round out this luminous quartet with grace, honesty and good humour. No one is more important than the other, it’s a celebration of them all. Whether together or apart, I could watch these ladies do anything. The quartet is marvellous; serenely bouncing off one another with memories and wisecracks. You just have to bathe in their anecdotes that run the gamut from happy to sad. Many areas are bound to bring some feelings of tears, mainly the fact that Plowright’s vision is failing and she occasionally looses track of conversation. But she still remains as strong as an ox and dispenses kindly wisdom to all. As all the ladies say, age is just a number.

I wholeheartedly recommend this documentary to anyone who enjoys watching actors reflect and fans of these amazing women.

The Girl with All the Gifts

Tags

2010's, Colm McCarthy, Drama, Gemma Arterton, Glenn Close, Horror, Paddy Considine, Sennia Nanua, The Girl with All the Gifts

A horror drama with ethical and provocative questions at its core, The Girl with All the Gifts finds new life in the zombie horror genre with fine acting, scares and a surprising intelligence.

Some time in the future, most of mankind has been overrun by a virulent fungal disease that turns the sufferer into a flesh craving zombie. These people are known as “hungries” by others. In a secret underground army base, a second generation of these creatures in the form of young children are taught. Unlike their savage relatives, these kids can think and learn, but also have a craving for flesh. Humans have a certain blocker gel that masks the smell of human flesh, but that is still no long term guarantee. The story mainly focuses on one such child known as Melanie( Sennia Nanua), who is immensely gifted, polite and eager to learn. The growling Sergeant Parks( Paddy Considine) keeps things running in a brusque way, while head scientist Dr. Caroline Caldwell( Glenn Close)experiments on the zombie children in a search for a cure to the disease. Although most see the children as just mere monsters, teacher Helen Justineau( Gemma Arterton) treats them with respect and compassion which puts her in opposition with both. Just as Dr. Caldwell is making some breakthrough, the facility is attacked by hungries. In the confusion, Melanie, Justineau, Caldwell and Parks survive and head for what they hope will be safety. But as tensions mount and Melanie is fought over, it becomes clear that there is no easy answer to what’s going on. But is Melanie the salvation of destruction of mankind in the grand scheme of things? And just how long is she to be trusted as the world around her crumbles and slips into a worse state than it already is?

Colm McCarthy is a director who clearly wants to bring that something different to the zombie horror sub genre. And that he does with this film that is both eerily tense and reflective on thematic material. I like how things start out mysterious and gradually we begin to understand the horrifying vision of the future. And once it hits the half an hour mark, intensity reigns and the pace quickens considerably backing up the horror credentials. One can make successful parallels with 28 Days Later and with good reason, for both are exemplary entries into zombie horror with more on its mind than just action and blood. Not that there isn’t action or blood as is envisioned in kinetic style and blood soaked horror, like the standout sequence of the hungries attaching the facility with a ferocity akin to a war movie. These events sit nicely along with the deeper thematic value of the piece. Considering The Girl with All the Gifts wasn’t made with the biggest budget, it never shows as it’s a gorgeously and hauntingly visual film. This extends particularly to its version of London, one in which overgrown plant life has taken over like a vicious jungle of vines that will prove fatal to those who can’t survive. And lets just say there is plenty of meat to chew over( pardon the pun.) The battle between good and evil is blurred considerably and admirably. No one is clear cut bad or good, least of all the eponymous Girl who is a mixture of both. The Girl with All the Gifts asks us to feel sympathy for her but like most of the characters, keep a certain sense of worry about her true nature and whether it’s just a matter of fate that she becomes rabid. In fact, there’s a certain tragedy attached to Melanie. You witness that she wishes to be like everyone else but is cursed from it, Some might say some of it is typical zombie fare and while there are going to be some cliched moments in here( no one said it was flawless), but what the film accomplishes is something with more heart and smarts than your average flick in this genre. A shimmering and reverberating score should rightfully be praised. It hums and throbs with an alarming intensity and haunting aura.

As the titular Girl, Sennia Nanua is a revelation in her first main role. For such a young actress acting alongside more seasoned co-stars, Nanua shows no sign of nerves and turns in a layered performance that is at once sympathetic and menacing. And what a cast it is. Gemma Arterton, of pleasing, warm face and expressive eyes, beautifully portrays the teacher who treats her charges as if they were just average children. In her eyes, although they are dangerous, they still matter and it is a fine.y judged, emotional performance from Gemma Arterton. Glenn Close( a superb actress of the highest order) is once more on amazing form as the ruthlessly determined scientist who seems heartless but possesses some care within her. Close doesn’t make her a villain and although she’s questionable as a character, it’s that flawed nature that Close gets across so well. Paddy Considine is on hand for sarcastic, aggressive lines and action as the skilled soldier navigating a crew of at odds survivors through a hellish London.

A chilling, thrilling but also deep examination of moral dilemmas set against a world gone mad, The Girl with All the Gifts discovers inventive and astute ways to blend post-apocalyptic horror and sensitive drama about ethical and ambiguous questions on humanity, science and the complex link between good and evil.

Us

Tags

2010's, Elisabeth Moss, Evan Alex, Horror, Jordan Peele, Lupita Nyong'o, Shahadi Wright Joseph, Tim Heidecker, Us, Winston Duke

Director

Jordan Peele

Starring

• Lupita Nyong’o
• Winston Duke
• Shahadi Wright Joseph
• Evan Alex
• Elisabeth Moss
• Tim Heidecker

A sophomore horror from Jordan Peele after the success of Get Out, Us may not reach the heights of its predecessor but it undoubtedly has something to say and is bolstered by fine acting.

As a child, Adelaide (Lupita Nyong’o) was traumatised when she wandered into the hall of mirrors at the Santa Cruz boardwalk. She encountered what seemed like a doppelgänger but was never able to bring herself to tell her parents what happened. As an adult, Adelaide is now married to the affable Gabe Wilson( Winston Duke) and has two children, daughter Zora( Shahadi Wright Joseph) and son Jason(Evan Alex). They are visiting Santa Cruz once more so they can see the wine-swilling and discontented Kitty(Elisabeth Moss) and Josh(Tim Heidecker), both friends of the couple. Adelaide has never confided in anyone about what happened all those years ago and is unsurprisingly apprehensive. While there, Jason wanders off which really terrifies Adelaide as it brings back bad memories and they return to their holiday home. A series of other coincidences alarm Adelaide and just as she is confessing to Gabe about her trauma , an eerie sight comes into view. To the horror of the Wilsons, they discover the figures outside are their doppelgängers . Menaced by their sinister counterparts, they are thrown into terror. And it appears that doppelgängers are not just for the Wilsons, but for many others too. Desperate to survive and protect her family, Adelaide must attempt to outwit the doubles and figure out their origins before it’s too late.

Jordan Peele is clearly going for something more ambitious here and displays immense talent too. Not every decision he makes is good, but he is largely at home with this kind of work. In relation to the highlight that was Get Out, Us falls short. But Get Out set a very high standard that it would be impossible to reach that level of success. On the praise front, Us most certainly keeps you glued with an unusual rhythm and the fact that we aren’t spoon fed information and is open to interpretation. Peele has you sympathise and get to know the Wilsons before all manner of hell breaks loose, which is commendable especially in the case of Adelaide. I don’t think Us will be a movie for everyone as it’s horror but with a difference. I’m firmly in the middle as of now, but I think the positives are outweighing the negatives.

Once you settle into the groove of the movie, Us begins to reveal its themes and message. And while it bites off more than it can chew, I was impressed by the allusions it made to the oppressive nature of society and duality. This is backed up by symbolism that eagle eyed viewers will eat up as it all means something. The humour gets a tad excessive and I would have appreciated Peele reigning it in a bit more. I found that some laughs overshadowed what Us was going for and didn’t really help. But the horror and off kilter imagery stands out for a start and continues throughout Us. It has been more than a bit overhyped, but definitely has its merits more than its faults. I feel that Us is one of those movies that will improve when watched again as there is mystery there and I’m sure parts that we might have missed. So watch this space as my mixed opinion may change in the future as I think more on it. There is some chewing the cud to do that’s for sure and certain.The score is pretty stellar at conveying the overall eerie and downright spooky nature of Us, while a well chosen soundtrack is in full swing too with many a highlight of juxtaposition.

The cast do wonders, especially considering each is playing two people. Lupita Nyong’o is the biggest standout with two fantastic and very convincing performances. While Adelaide is frightened but eventually strong, her doppelgänger is sinister and unnerving. She finely judges both roles and it’s simply amazing how much she puts into both, from the fierce look in Adelaide’s eyes to the skin-crawling voice of her double. It takes a strong actress to convince as two very different characters, but Lupita Nyong’o is more than up to the challenge. Nyong’o deserves nothing but praise for her accomplishment here which is two completely different performances executed handsomely. Winston Duke injects a lot of humour into the role of affable father and husband, he does get some of the best lines and runs with them with fine comic timing. He also provides a hulking presence as his creepy double. Usually kids in horror movies fall into two categories; believable and annoying nuisance. Thankfully Shahadi Wright Joseph and Evan Alex are in the former category and hold their own against more experienced co-stars. In a small but memorable role, Elisabeth Moss conveys the dissatisfaction and vanity of her character with ease and commitment. Then she turns it up a few notches as a nefarious but strangely tragic double. Tim Heidecker supplies good support too as her husband.

A bit overly ambitious but nonetheless creepy and with many messages among the horror, Us gets by on atmosphere and excellent acting, particularly from Lupita Nyong’o.