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us

Jordan Peele’s follow-up to the 2017 horror hit Get Out, this surprisingly effective allegorical genre entry stars Lupita Nyong’o as a woman whose family vacation to Santa Cruz brings her into confrontation with a childhood trauma with ramifications for all of humanity. This is a difficult film to describe without giving away too much of the plot, but it revolves around the protagonist’s anxiety regarding the existence of a “shadow” or doppelganger and her experience of a series of evilly portending coincidences. Peele has a genuine knack for suspense, and the film has humorous moments, as well, thanks largely to the presence of Winston Duke, who appears as the hapless family patriarch.

[WARNING: SPOILERS]

4 out of 5 stars. Ideological Content Analysis indicates that Us is:

Drug-ambivalent. The family bonds over a dope-referencing rap tune, even as the father warns his children not to use drugs.

Conspiracist. The movie opens with an intriguing blurb about networks of ominous tunnels running underneath the expanse of the US, and the mystery at the heart of the story is revealed to have something to do with a mind control experiment gone awry. Early on, in something of a foreshadowing, the protagonist’s daughter (Shahadi Wright Joseph) poses: “Did you know that there’s fluoride in the water that the government uses to control our minds?” Of course, all of this could also be read as a satire of online conspiracy theories; but the movie on the whole seems to discourage the viewer from being dismissive of the existence of the otherworldly and outrageous.

Feminist. “You don’t get to make the decisions anymore,” Nyong’o informs her husband. Later, she is shown literally occupying the driver’s seat of their car and taking the initiative in confronting the “shadows”.

Anti-white. Though racial tensions are not the focus or principal subtextual relevance, scenes of interracial violence carry an undeniably racial charge, with audiences probably intended to feel a special satisfaction at the sight of a sassy black girl disposing of feral white girl doppelgangers. Likewise, the moment when a feral black girl doppelganger falls upon a grouchy white guy is probably supposed to convey a sense of justice or racial revenge. In one scene, white actor Tim Heidecker wears a shirt that says “Fragile”, which presumably is intended to endorse the concept of “white fragility”.

Egalitarian and globalist. In its revelation that, living undetected in tunnels under the United States is an underclass of uneducated, underprivileged, dysfunctional, and disgruntled doubles corresponding to more prosperous counterparts on the surface, Us invites interpretation as an expression of proletarian or lumpenproletarian angst and resentment toward upper-middle-class and wealthy Americans. In making the “shadows” physically identical to their class enemies and demonstrating that a specimen of the former set is able to pass as a member of the latter, Us plays with the theme of Mark Twain’s The Prince and the Pauper. Environment, Peele suggests, is the difference between success and squalor, so that compassion for one’s less fortunate fellows is in order if cataclysmic retaliation is to be averted. The ambiguous “us” of the title lends itself to different interpretations, one of which is that it refers to blacks specifically and arguably the discomfort of the “talented tenth” with their own teeming and rather frighteningly criminal coethnics. The protagonist and her family, who enjoy an upper-middle-class lifestyle on par with that of successful whites, are horrified when they are confronted with their own “shadows” – violent, primitive versions of themselves in convict-style red jumpsuits. It is a “there, but for the grace of God, go I” moment, but also an indication of elitist disgust at the cultural gulf that the protagonists perceive between themselves and their social inferiors. The revelation that the protagonist herself, however, is actually the “shadow” and that her savage assailant is the one who was born topside indicates that this condescension is misplaced, undermining the “Us vs. Them” dichotomy implied by the title. Beyond this, Peele also mentions in one of the DVD extras that he believes the people of the United States as a whole to be the beneficiaries of a “collective privilege”, the solution presumably entailing some form of global reparations.

Rainer Chlodwig von K.

Rainer is the author of the book Drugs, Jungles, and Jingoism.

In the not-too-distant future aliens invade and attempt to conquer the earth.  Humanity won this war, we are told, but only at the cost of our planet’s devastation.  Now a mere cleanup crew of sorts remains to maintenance the drones and machines that harvest water energy in order for the rest of the world’s population to make its new home in space.  Tom Cruise plays Jack, who, along with partner and lover Victoria (Andrea Riseborough), is due to leave the earth in a matter of weeks after servicing some equipment and picking off a few “scavs”, alien remnants that pilfer supplies and sabotage the energy works.  To his surprise, however, he learns that he and Victoria are not alone, and, still more shocking, that his mission and perhaps even he himself may conceal a sinister purpose.

A superlative science fiction adventure, Oblivion also works as an encapsulation of Tom Cruise’s career thus far, his character here alluding to previous roles with his enthusiasm for sports (as in All the Right Moves and Jerry Maguire), daredevil flying skills (think Top Gun), and brave stand against extraterrestrial invaders (cf. War of the Worlds). Cruise is particularly handsome and rugged as Jack, and has not one but two sexy international love interests in Andrea Riseborough and Olga Kurylenko.  The visual design of Oblivion is an appealing combination of futuristic sterility and earthy grime and decay; and the soundtrack is also strong, with the drones, which resemble flying, spherical R2D2s, actually contributing a quasi-musical element with their intimidating electronic blares.  Surprising given its title and the bleakness of the scenario is that Oblivion manages to deliver a satisfyingly happy ending, so that the film is highly recommended and particularly in the big screen experience, where its special effects and scope can be properly appreciated.

4.5 stars.  Ideological Content Analysis indicates that Oblivion is:

6. Multiculturalist/anti-clone.  Morgan Freeman leads the resistance and gets to play the sacrificial Negro.  As in Life of Pi, audiences are warned of the potential horror of a completely homogenous Caucasian population.

5. Green-ambivalent.  While Jack enjoys the rustic zero-technology life, the film acknowledges that alternative energies are a scheme of the New World Order.

4. Mildly pro-miscegenation.  Cruise’s involvement with Eurasian-looking Ukrainian Olga Kurylenko is a borderline case.

3. Luddite and specifically anti-drone.  Though drones are convenient and efficient and one even comes to Jack’s aid against the scavs, the things are only as trustworthy as their programmers.

2. Pro-liberty/pro-gun.  Sykes (Nikolaj Coster-Waldau), after defending himself against a drone, poses picturesquely with his gun in front of the Liberty Bell.

1. NWO-alarmist/antiwar.  Jack’s employers, the centralized bureaucracy controlling everything, reside in an ominous spacecraft in the shape of an inverted pyramid.  The Statue of Liberty is a ruin, freedom having been destroyed along with the earth in the natural course of war.

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