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.

The Jungle Book

Tags

2010's, Adventure, Ben Kingsley, Bill Murray, Christopher Walken, Giancarlo Esposito, Idris Elba, Jon Favreau, Lupita Nyong'o, Neel Sethi, Scarlett Johansson, The Jungle Book

Film Title

The Jungle Book

Director

Jon Favreau

Starring

• Neel Sethi as Mowgli
• Ben Kingsley as Bagheera
• Bill Murray as Baloo
• Idris Elba as Shere Khan
• Lupita Nyong’o as Raksha
• Giancarlo Esposito as Akela
• Scarlett Johansson as Kaa
• Christopher Walken as King Louie

When I was first informed that they were doing another version of The Jungle Book, combining live action with CGI, I’ll admit to being a bit skeptical over how successful it would turn out. I’m happy to report however that this interpretation from Disney is a triumph in almost every department, while adding some new touches to the adventure tale. Trust me, you’ll be blown away by this version of the beloved story.

Mowgli is an orphaned man cub, who is raised by a pack of wolves deep in the Indian jungle. He was brought there by the panther Bagheera, who watches out for the young and wild boy. While the wolves treat him as family, the leader of the pack Akela, disapproves of the boy using tricks considered human and wants him to be more like a wolf. Raksha, a female wolf acts as a strong mother figure for Mowgli and considers him her son. Yet as Mowgli grows older, the threats to him become more pronounced. The main one is the reappearance of the evil tiger Shere Khan, who strikes fear in the heart of all the other animals. Having been burned by humans in the past, Shere Khan has a deep hatred for man and seeing Mowgli vows to kill him. Fearing for the safety of young Mowgli, Akela has Bagheera take him back to a man village where it is hoped he will be safe from Shere Khan. Mowgli doesn’t want to leave, but sees that the danger posed to him is great. Yet getting to that village is no easy task as Mowgli and Bagheera become separated and he must fend for himself. Thankfully he encounters Baloo, a lazy but lovable bear who he quickly forms a bond with. Yet there is peril to be found in the jungle in many forms and with Shere Khan attempting to draw him out, it comes down to Mowgli to discover where his place in life is.

Jon Favreau directs with a sure hand, crafting The Jungle Book as an entertaining yet heartfelt production of massive scope. The CGI is quite simply breathtaking and awe-inspiring, worthy of every ounce of praise that has been aimed at it. Nary a frame of The Jungle Book is wasted due to the precision of the direction and the sheer majesty of everything going on. Everything in this Disney production looks so life-like, you could almost touch it and taste it with your senses in every shot. The jungle comes alive on the screen, resplendent with dangers and adventures for young Mowgli, as well as the audience too.  In a different move, the darkness quota is significantly raised like never before. This gives The Jungle Book that something else that balances being a fun adventure with some genuine moments of danger. Moments that signify this shift are plentiful; from the large snake Kaa revealing the past of Mowgli while reeling him in to a large and menacing Orangutan-resembling ape King Louie, who wishes to harness the power of fire. And the biggest one is having Shere Khan as a ferocious beast who was scarred by man and looks frightening from the very moment he appears. I must say this new direction of making things darker really impressed me because it infuses the film with probably the darkest presentation of the source material yet doesn’t forget the atmosphere of fun that children and adults alike can enjoy. The coming of age elements are brought out with deeply riveting and soulful results as Mowgli attempts to find his place. An excellent music score highlights the thrilling adventures and soul of The Jungle Book. It was also a blast hearing some of the songs from the 1967 animated version, but done in other ways to distinguish it and not make the film a remake.

Newcomer Neel Sethi, as the only physical performer in the film, is naturally convincing as the curious and rebellious Mowgli. Considering that he would have been acting against nothing, he marvellously conveys a big load of emotions and reactions that never ring false for a second. The voice cast for the animals that inhabit the jungle are expertly employed and add their own inflections to their parts. I have always found Ben Kingsley as an actor to have something of a stately presence and this feeling of authority is reflected in his voicing of Bagheera, which emanates with wisdom and firmness. The amusing and always joyful Bill Murray is inspired as the honey-guzzling Baloo, who provides the comic moments of the film with a dash of classic Murray sarcasm. A real standout among the voices is Idris Elba as the evil Shere Khan. His booming, resonant voice utilized to maximum effect that makes the creature genuinely scary and filled with rage. Reverberating whenever he shows us, Elba’s voice is a clear winner. The assured and nurturing inflections from Lupita Nyong’o as the motherly Raksha pull out the emotional centre of the story and go a long way to creating moving results. Giancarlo Esposito has the required feelings of strength and leadership in voicing the head wolf of Akela, while the seductive voice of Scarlett Johansson colours the segment with her as Kaa the snake with a hypnotic impact. Christopher Walken’s distinctive voice is put to excellent use as the gigantic King Louie, with him sounding like something of a dodgy deal maker in the gangster mode and a menacing force. As strange as that combination sounds, it works wonderfully for this creation.

Imaginative, lushly directed and filled with something for everyone, The Jungle Book is a wonderful film in every way. Whether it’s the visuals, cast or the story, every department pulls tether to breathe fresh life into the well-known story and put a new stamp on it. I can’t think of a movie of late that has left me so thrilled and excited to talk about.

12 Years a Slave

Tags

12 Years a Slave, 2010's, Alfre Woodard, Based on a true story, Benedict Cumberbatch, Brad Pitt, Chiwetel Ejiofor, Lupita Nyong'o, Michael Fassbender, Paul Dano, Paul Giamatti, Sarah Paulson, Solomon Northup, Steve McQueen

Film Title

12 Years a Slave

Director

Steve McQueen

Starring

• Chiwetel Ejiofor as Solomon Northup
• Michael Fassbender as Edwin Epps
• Lupita Nyong’o as Patsey
• Benedict Cumberbatch as William Ford
• Paul Dano as John Tibeats
• Paul Giamatti as Theophilus Freeman
• Sarah Paulson as Mary Epps
• Brad Pitt as Samuel Bass
• Alfre Woodard as Mistress Harriet Shaw

Unrelenting, visceral and staggeringly powerful, Steve McQueen’s 12 Years a Slave is based on the true story of Solomon Northup, a free black man who was kidnapped into slavery and unimaginable cruelty. It won’t be the easiest film to watch, but it shouldn’t be as it shows the horrifying constitution of slavery and one mans quiet bravery in order to survive.

Beginning in 1841, Solomon Northup is a free black man living in Saratoga Springs, New York with his wife and two young children. He works as a carpenter and is highly skilled at playing the fiddle. He is offered a two-week job as a musician by two men, who proceed to drug him and place him in chains in preparation for being sold into slavery. Stripped of his freedom and renamed Platt he is first sold to William Ford, who is relatively benign and benevolent towards Solomon. The same can’t be said about John Tibeats, the weasel like worker of Ford’s takes every opportunity to voice his racist attitudes and tensions soon come to a shocking head. In order to help Solomon, Ford sells him to Edwin Epps. Solomon realises that in order to survive he must hide the fact he is an educated man and be as quiet as possible. Unfortunately, Epps is a violent,unpredictable slave owner who believes he is doing the work of God by abusing his plantation workers. Epps lusts after Patsey, one of his best workers who he also abuses many times. His lusting after her doesn’t sit well with his wife, who takes every opportunity she can to inflict pain on Patsey. As the years go by, Solomon attempts to survive by holding onto his hope. Prepare for a brutally honest, harrowing but also hopeful tale of the quiet courage of one man against the odds.

The first thing that deserves praise is Steve McQueen’s refusal to sugarcoat any of the torture that happens to the slaves. Whereas other movies shy away from it, McQueen lets his camera linger on the brutal scenes to show us the inhumanity of it. Two scenes that are hard to watch but staggeringly powerful and brutal are Solomon struggling with a noose around his neck as we hear his breathing become little more than a gasp and the horrifying whipping of Patsey, her back covered in lacerations and her face streaming with tears. I admire the way McQueen shows the unflinching detail and lets the audience feel the emotional and physical pain endured by the slaves. He doesn’t let the audience sit comfortably and makes them really squirm with the showing of human suffering. Hans Zimmer contributes an evocative score to match the emotional intensity of the film. The cinematography captures the twilight beauty of the bayou as the willow trees gently blow in the breeze but juxtaposes these with sickening images of torture and pain, creating the notion that there may be beauty in the world but the reality is a harsh and brutal eye-opener. To think that these inhumane actions really happened to people is horrifying to think of.

What really makes 12 Years a Slave a powerful and important film is the uniformly excellent cast. Heading this is the powerful performance of Chiwetel Ejiofor. He embodies the quiet, stoic bravery of Solomon with immense emotional dexterity. Even when he isn’t speaking, his intense eyes radiate the emotions his character endures as he attempts to survive the utter horror he has been thrown into. His performance is a marvellous and subtle piece of work that deserves all the praise it is getting. Tearing up the screen is McQueen regular Michael Fassbender as the evil Edwin Epps. Fassbender intensely plays this man of cruelty who uses religion as a way to justify his treatment of his slaves. He shows us the unpredictability of Epps as he wrestles with his desire for one of his workers. Lupita Nyong’o in her debut performance is a powerful presence in what has to rank as one of the best debut performances in cinema. She is heartbreaking, sincere and devastatingly powerful as Patsey, the slave who endures an immense amount of cruelty at the hands of her owners. Benedict Cumberbatch plays the benign slave owner who respects Solomon, whilst Paul Dano is a slimy, rat like presence as the insecure racist Tibeats. Paul Giamatti is the unscrupulous man who sells slaves without a care in the world. Sarah Paulson adds a frightening and vindictive dimension to her character, the spurned wife of Epps who unable to handle the love he has for one of his workers takes her anger out in horrifying fashion on the object of his affections. Brad Pitt has a small role as the abolitionist who listens to Solomon’s tale of survival. Pitt isn’t really given much to do in the film and his presence can be a little distracting. Alfre Woodard in a small but memorable role plays a former slave who is married to her former owner and now has servants to wait on her. The only flaw I can really think of is concerning the passage of time which isn’t really addressed that much. But with that being my only quibble, the film is still one of the most powerful and eye-opening films I’ve seen in a long time.

Raw, visceral and full of emotional impact, 12 Years a Slave is a powerful and haunting achievement in filmmaking that should be seen at least once by everyone for its examination of slavery and the courage of one man thrown into it.