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Jordan Peele’s follow-up to the phenomena that was Get Out (2017) was always going to be an event in its own right. After all, that movie was universally beloved by critics (among other things, earning a near-perfect 99% on Rotten Tomatoes), ravenously devoured by fans (earning more than $176 million domestically, and over $255 million overall, on a Blumhouse-standard $4.5 million budget) and welcomed with open arms by a normally discriminating cineaste elite (coming within a hair’s breadth of winning Best Picture at that year’s Oscars before losing out to Guillermo del Toro’s The Shape of Water). I just don’t think that many people were expecting the movie to be quite this big.
Us (2019), the chilling portrait of a family (and a world) set face-to-face with their deranged doppelgangers. They are the warped, demented shadows of ourselves – our darker selves – that lurk in the night, just outside of view. The movie is genuinely exceptional. Its reviews are nearly as good as Get Out’s and the world-of-mouth betrays it as just as much of a must-see as Peele’s directorial debut. And, building on Get Out’s success and Peele’s newfound notoriety (including, among other things, his timely relaunch of The Twilight Zone), it might just prove to be an even greater cultural moment than that storied film from two years ago.
Us - Box - Office - Success - Story
You see, Us isn’t just a box office success story. It is already THE box office success story of the year (and will probably remain such for all the remaining months to come). It dominated the US box office in ways that we haven’t seen for movies of this kind since maybe as far back as Psycho (1960), and is perched to continue this winning streak until something like...
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