Jordan Peele new movie "Us" - updated with trailer (contains spoilers)
- Thread starter TimRock
- Start date
If he pulls this off and all indications looks like he will he will be automatically catapulted even higher in status than he could imagine! Like str8 going to wachowski franchise n hollywood studio status! I'd be really happy for him too!!
I know some dudes on this board didn't like their show but I actually thought it was funny..I thought Peele was the funnier one. I also thought they were talented but I didn't see this coming at all. Dude doing movies with black leads and he's being successful doing it.
Fuc k Hollywood... If we had other funds to invest in projects or if tech was as advanced as it is now yrs ago or if we had social media or other outlets to network back than we could still be here or been better off as far as showcasing our skillets
yeah i never saw this coming ! aint gon' lie! i also thought he was funnier one but i never saw this writing & film makin at this level! no sir !I know some dudes on this board didn't like their show but I actually thought it was funny..I thought Peele was the funnier one. I also thought they were talented but I didn't see this coming at all. Dude doing movies with black leads and he's being successful doing it.
Horror fans,
Here's a podcast interview Jordan Peele did with the Shock Waves podcast back in 2016.
http://podcast.blumhouse.com/episode-16-jordan-peele-and-his-love-of-horror
Join your hosts Rob Galluzzo, Elric Kane, Rebekah McKendry and Ryan Turek as they gather 'round the table to talk all the latest horrors! In celebration of Dario Argento's birthday, the group throw out their favorite Argento films. Both Rob & Elric saw & discuss Rob Zombie's latest '31.' Bekah checked out the Scorpion Releasing Blu of HARLEQUIN. Elric reports back on I AM NOT A SERIAL KILLER and the bonkers 1982 cult film THE INCUBUS. Ryan revisited the original MUMMY, which sparked a discussion on the Universal Monster Movies. And Rob advocates the work of director Jim Mickle after seeing his two latest films COLD IN JULY and WE ARE WHAT WE ARE.
Then the gang welcome very special guest Jordan Peele to the show! Despite being most well known for his comedy work on the show KEY & PEELE, as well as this year's feature KEANU, Peele recently wrapped up production on a straight horror film with Blumhouse Productions titled GET OUT. And through that experience, we discovered his love of the genre. So we delve into how he got into horror through FANGORIA magazine as a kid, his favorite theatrical experiences, how horror has influenced his comedic work & the correlations between the two, what his top 5 genre movies are and much, much more in this fun, laid back candid chat. Sit back, relax and join the conversation!
Here's a podcast interview Jordan Peele did with the Shock Waves podcast back in 2016.
http://podcast.blumhouse.com/episode-16-jordan-peele-and-his-love-of-horror
Join your hosts Rob Galluzzo, Elric Kane, Rebekah McKendry and Ryan Turek as they gather 'round the table to talk all the latest horrors! In celebration of Dario Argento's birthday, the group throw out their favorite Argento films. Both Rob & Elric saw & discuss Rob Zombie's latest '31.' Bekah checked out the Scorpion Releasing Blu of HARLEQUIN. Elric reports back on I AM NOT A SERIAL KILLER and the bonkers 1982 cult film THE INCUBUS. Ryan revisited the original MUMMY, which sparked a discussion on the Universal Monster Movies. And Rob advocates the work of director Jim Mickle after seeing his two latest films COLD IN JULY and WE ARE WHAT WE ARE.
Then the gang welcome very special guest Jordan Peele to the show! Despite being most well known for his comedy work on the show KEY & PEELE, as well as this year's feature KEANU, Peele recently wrapped up production on a straight horror film with Blumhouse Productions titled GET OUT. And through that experience, we discovered his love of the genre. So we delve into how he got into horror through FANGORIA magazine as a kid, his favorite theatrical experiences, how horror has influenced his comedic work & the correlations between the two, what his top 5 genre movies are and much, much more in this fun, laid back candid chat. Sit back, relax and join the conversation!
Must see.
Tv announcer be cracking me up with how fast he says the title..
sounds like he saying "JordanPEELSUS Rated R."
sounds like he saying "JordanPEELSUS Rated R."
Jeremiah 11:11
"Therefore thus saith the Lord, Behold, I will bring evil upon them, which they shall not be able to escape; and though they shall cry unto me, I will not hearken unto them."
"Therefore thus saith the Lord, Behold, I will bring evil upon them, which they shall not be able to escape; and though they shall cry unto me, I will not hearken unto them."
Man I’m about to drop a few points no spoilers just some ideas I had about the meaning of Us after the movie.
This movie was on some Alfred Hitchcock type shit. Was creepy but wasn’t any scarier than Get Out to me (maybe a lil scarier), which funny enough had me yelling get out at the screen to these characters. I’m going to see this again because there is a lot I missed and so many unanswered questions but I will say this Us is more than a statement about “us” as a family the title of the movie is a doppelgänger in meaning itself just like the characters in the movie. I think Us is a commentary on the U.S. as a whole and the American dream. Don’t want to spoil it but you’ll find out why when you watch it and hear the responses the characters make pay attention.
I posted that scripture yesterday because the whole movie I was wondering what it said and meant in relation to this film but I think it goes back to the meaning of the title Us. After I posted that scripture yesterday I did some research on it and it’s prophets of God speaking to the people of Judah about their covenant with God and how they have disobeyed it and brought mischief among “themselves” by their “own” folly and willfulness. Most people aren’t gonna say it has a racial meaning like Get Out but I still think there is one. On a micro level this Us could be referring to black people just as some surmised earlier in the thread and our identity, on a macro level this Us could be referring to the U.S. and it’s identity among those who differ from us.
You’ll also find out what’s up with these scissors, I don’t want to drop any spoilers until people have seen the movie. This movie was on some Stanley Kubric type shit. See what y’all think after you see it.
This movie was on some Alfred Hitchcock type shit. Was creepy but wasn’t any scarier than Get Out to me (maybe a lil scarier), which funny enough had me yelling get out at the screen to these characters. I’m going to see this again because there is a lot I missed and so many unanswered questions but I will say this Us is more than a statement about “us” as a family the title of the movie is a doppelgänger in meaning itself just like the characters in the movie. I think Us is a commentary on the U.S. as a whole and the American dream. Don’t want to spoil it but you’ll find out why when you watch it and hear the responses the characters make pay attention.
I posted that scripture yesterday because the whole movie I was wondering what it said and meant in relation to this film but I think it goes back to the meaning of the title Us. After I posted that scripture yesterday I did some research on it and it’s prophets of God speaking to the people of Judah about their covenant with God and how they have disobeyed it and brought mischief among “themselves” by their “own” folly and willfulness. Most people aren’t gonna say it has a racial meaning like Get Out but I still think there is one. On a micro level this Us could be referring to black people just as some surmised earlier in the thread and our identity, on a macro level this Us could be referring to the U.S. and it’s identity among those who differ from us.
You’ll also find out what’s up with these scissors, I don’t want to drop any spoilers until people have seen the movie. This movie was on some Stanley Kubric type shit. See what y’all think after you see it.
Oscar-winning director and writer Jordan Peele joins the show
By Sean Fennessey Mar 19, 2019, 8:23am EDT
Oscar-winning director and writer Jordan Peele joins the show—the day after the premiere of his new film Us at SXSW—to discuss following up Get Out, working with stars like Lupita Nyong’o, Elisabeth Moss, and Winston Duke, and tackling complex themes within the horror genre.
https://www.theringer.com/2019/3/19/18272406/jordan-peele-on-us-movie
https://art19.com/shows/the-big-picture/episodes/62647c7f-caae-4dc5-aa03-7a539177e198
https://www.theringer.com/movies/20...out-hitchcock-horror-wes-craven-lupita-nyongo
https://www.theringer.com/the-big-picture
well..........................
i just saw it. Yeah, i am definitely gonna have to watch again. There is deep meaning behind this.
4/5
Very entertaining
Great acting
Great soundtrack
I need to see it again ,at least the beginning again .
Very entertaining
Great acting
Great soundtrack
I need to see it again ,at least the beginning again .
Yep. After you start thinking about it, shit comes together nicely.
Yeah this is one of them movies you gotta watch again. The beginning and the ending were some shit.
Notice all the themes of doppelgänger? The frisbee and circles etc?
I usually don't do horror movies but I may have to check this out.
Just left the movie. This thread is about to be 50 pages long with theories. I’ve already foreseen it. So much to unpack with this one. People stayed out in the lobby after it was over having discussions and arguments. I’ve never seen anything like that before. I can’t wait to hear everyone’s breakdowns..
Yup. Lots of symbolism and parallelism in this piece. Must watch again for more of it but the acting by Lupita was superb and the directing was masterful. Peele's weirdness kept you on edge til the end and the end was yeah...weird but a great watch.
Lupita was brilliant in the film. The plot twist at the end I definitely didn't see it coming. I gotta watch this shit again to pick up on the subtle clues.
Entertainment wise I liked it........but as a film.....It came across as pretty basic horror film so I'm hoping that I must've missed all of the hidden shit in the film.......because soon as the film started...I already knew what the twist was from rip.
A very well made film though. If you going in expecting Get Out........you probably shouldn't. A different film. Well to me anyway.
A very well made film though. If you going in expecting Get Out........you probably shouldn't. A different film. Well to me anyway.
Throughout the film they sort of lead to you what the twist is going to be. IT was little subtle stuff but you could tell.
God sayeth you motherfuckers are on your own
I just came back from the 10 showing. Oh my fucking god. No spoilers, but I'm telling you you will fucking love this movie. Jordan Peele is pure unaduh... unaduh... unaduh...
The Story of Hands Across America, the Failed Fundraiser Featured in Jordan Peele’s Us
By Jason Bailey
The nightmare begins. Photo: Universal Pictures
Jordan Peele’s Us opens with a sequence that seems deliberately designed to confuse viewers, or, at least, younger ones. On a vintage television, surrounded by VHS tapes, we see a promotional video for Hands Across America, an advertisement (and event) so fundamentally cheeseball, it almost seems like something Peele made up. But as with Gremlins 2: The New Batch,the truth of ’80s entertainment was stranger than fiction, and Hands Across America was very real indeed, a true relic of the era — in terms of both its aims and its failed ambitions.
Hands Across America was part of a wider movement of celebrity/entertainment activism that swept the country, and the world, in the mid-1980s. It was a snowball effect, each all-star benefit prompting another that attempted to complement or outdo its predecessor: Bob Geldof’s 1984 Band Aid single “Do They Know It’s Christmas?” begot an American counterpart, “We Are the World,” which became the fastest-selling pop single of all time upon its release in March of 1985; U.S.A. for Africa, the organization behind the single, teamed with Geldof to mount the global benefit concert Live Aid that July.
And in October of 1985, U.S.A. for Africa announced its topper: On Sunday, May 25, 1986, 6 million Americans would lock hands and form a line winding from New York City to Long Beach, California. Each participant would contribute $10 toward the cause of aiding the country’s homeless and hungry; sponsors (including Coca-Cola and Citibank) would, they said, cover the estimated $18.8 million cost of staging, advertising, and staffing the event. U.S.A. for Africa called it “the largest participatory event in the history of the world,” and hoped to raise “at least $50 million.”
ADVERTISING
logistical nightmare, particularly in that pre-internet, pre–cell phone age. The intended 4,152-mile route, stretching across 16 states, ten rivers, two deserts, and one mountain range, required 1,320 participants per mile. To volunteer for a spot, individuals could pledge their $10 (or more, if they wanted a T-shirt, pin, or other swag) via an 800 number, which would then send them an entry form. “When the form is returned,” the New York Times reported, “the organization’s computer assigns a particular one-mile segment.” (We were really excited about our computers in the 1980s.) Corporate and individual sponsors could buy entire miles of the route; some offered to transport participants to fill them. But there were still questions about how to fill predicted gaps in Texas and through the Southwest, and about the route itself. (Senator Ted Kennedy complained that the route bypassed New England). Some even wondered if so many people linking bodies could prove an electrical danger.
LEARN MORE »
And then there was the question of star power. Part of the draw of “We are the World” and Live Aid were the white-hot personnel: Michael Jackson and Lionel Richie co-wrote and anchored the song, while David Bowie, the Who, Queen, Elton John, Sting, Madonna, and Tom Petty were among the headliners at the concert. Hands Across America lined up Lily Tomlin, Kenny Rogers, Pete Rose, and (gulp) Bill Cosby as co-chairs, and more stars committed to participate on the day or sponsor miles. But the “Hands Across America” theme song was a decidedly low-rent affair, written by a trio of commercial jingle composers (their biggest hit was Chrysler’s “The Pride is Back”), performed by studio singers, a New Jersey choir, and Toto, of “Africa” fame. In spite of a music video boasting cameos by the likes of Barbra Streisand, Robin Williams, and C3PO, the song flopped.
proclaiming that there were enough resources available to the country’s poor. “I don’t believe that there is anyone going hungry in America simply by reason of denial or lack of ability to feed them,” Reagan said. “It is by people not knowing where or how to get this help.” When those comments attracted criticism of their own, the president and his staff recognized the public-relations value of Hands Across America, and carefully placed themselves between adorable moppets for an official White House video at 3 p.m. sharp on the Sunday before Memorial Day.
Participants across the country held hands for 15 minutes that day, with radios tuned to stations participating in a simulcast, so all could sing along to “We Are the World,” “America the Beautiful,” and the sappy “Hands Across America” theme. Other Washington, D.C., participants included Reverend Billy Graham, Mary Lou Retton, and Coretta Scott King. Jesse Jackson joined the line in Iowa; Bill and Hillary Clinton lent a hand in Arkansas; Mickey Mouse and Donald Duck joined in at Disneyland. Migrant workers organized a 51-mile stretch in Texas. The chain also included 50 Abraham Lincoln impersonators in Springfield, Illinois, and 54 Elvises in Memphis. The AP reported five weddings along the chain.
But even the most optimistic reports noted “several gaps” in the line, some of them miles long; ribbons, banners, and even farm animals were used to fill in the noticeable voids. And optics weren’t the only problem; due toastronomical administrative costs and unkept pledges, Hands Across America fell far short of its $50 million goal. A year later, the Times reporteda net of “only $15 million for the hungry and homeless after all costs were paid.” U.S.A. for Africa spent about the same amount to mount the event.
That relatively small payout, and the goofy music video, were Hands Across America’s legacy — until now. Jordan Peele was 7 years old (roughly the same age as little Adelaide in Us) at the time of Hands Across America. And maybe it took eyes that young to look at this sweaty attempt at ’80s activism and see something not corny, not self-aggrandizing, but deeply, undeniably sinister.
By Jason Bailey
The nightmare begins. Photo: Universal Pictures
Jordan Peele’s Us opens with a sequence that seems deliberately designed to confuse viewers, or, at least, younger ones. On a vintage television, surrounded by VHS tapes, we see a promotional video for Hands Across America, an advertisement (and event) so fundamentally cheeseball, it almost seems like something Peele made up. But as with Gremlins 2: The New Batch,the truth of ’80s entertainment was stranger than fiction, and Hands Across America was very real indeed, a true relic of the era — in terms of both its aims and its failed ambitions.
Hands Across America was part of a wider movement of celebrity/entertainment activism that swept the country, and the world, in the mid-1980s. It was a snowball effect, each all-star benefit prompting another that attempted to complement or outdo its predecessor: Bob Geldof’s 1984 Band Aid single “Do They Know It’s Christmas?” begot an American counterpart, “We Are the World,” which became the fastest-selling pop single of all time upon its release in March of 1985; U.S.A. for Africa, the organization behind the single, teamed with Geldof to mount the global benefit concert Live Aid that July.
And in October of 1985, U.S.A. for Africa announced its topper: On Sunday, May 25, 1986, 6 million Americans would lock hands and form a line winding from New York City to Long Beach, California. Each participant would contribute $10 toward the cause of aiding the country’s homeless and hungry; sponsors (including Coca-Cola and Citibank) would, they said, cover the estimated $18.8 million cost of staging, advertising, and staffing the event. U.S.A. for Africa called it “the largest participatory event in the history of the world,” and hoped to raise “at least $50 million.”
ADVERTISING
logistical nightmare, particularly in that pre-internet, pre–cell phone age. The intended 4,152-mile route, stretching across 16 states, ten rivers, two deserts, and one mountain range, required 1,320 participants per mile. To volunteer for a spot, individuals could pledge their $10 (or more, if they wanted a T-shirt, pin, or other swag) via an 800 number, which would then send them an entry form. “When the form is returned,” the New York Times reported, “the organization’s computer assigns a particular one-mile segment.” (We were really excited about our computers in the 1980s.) Corporate and individual sponsors could buy entire miles of the route; some offered to transport participants to fill them. But there were still questions about how to fill predicted gaps in Texas and through the Southwest, and about the route itself. (Senator Ted Kennedy complained that the route bypassed New England). Some even wondered if so many people linking bodies could prove an electrical danger.
LEARN MORE »
And then there was the question of star power. Part of the draw of “We are the World” and Live Aid were the white-hot personnel: Michael Jackson and Lionel Richie co-wrote and anchored the song, while David Bowie, the Who, Queen, Elton John, Sting, Madonna, and Tom Petty were among the headliners at the concert. Hands Across America lined up Lily Tomlin, Kenny Rogers, Pete Rose, and (gulp) Bill Cosby as co-chairs, and more stars committed to participate on the day or sponsor miles. But the “Hands Across America” theme song was a decidedly low-rent affair, written by a trio of commercial jingle composers (their biggest hit was Chrysler’s “The Pride is Back”), performed by studio singers, a New Jersey choir, and Toto, of “Africa” fame. In spite of a music video boasting cameos by the likes of Barbra Streisand, Robin Williams, and C3PO, the song flopped.
proclaiming that there were enough resources available to the country’s poor. “I don’t believe that there is anyone going hungry in America simply by reason of denial or lack of ability to feed them,” Reagan said. “It is by people not knowing where or how to get this help.” When those comments attracted criticism of their own, the president and his staff recognized the public-relations value of Hands Across America, and carefully placed themselves between adorable moppets for an official White House video at 3 p.m. sharp on the Sunday before Memorial Day.
Participants across the country held hands for 15 minutes that day, with radios tuned to stations participating in a simulcast, so all could sing along to “We Are the World,” “America the Beautiful,” and the sappy “Hands Across America” theme. Other Washington, D.C., participants included Reverend Billy Graham, Mary Lou Retton, and Coretta Scott King. Jesse Jackson joined the line in Iowa; Bill and Hillary Clinton lent a hand in Arkansas; Mickey Mouse and Donald Duck joined in at Disneyland. Migrant workers organized a 51-mile stretch in Texas. The chain also included 50 Abraham Lincoln impersonators in Springfield, Illinois, and 54 Elvises in Memphis. The AP reported five weddings along the chain.
But even the most optimistic reports noted “several gaps” in the line, some of them miles long; ribbons, banners, and even farm animals were used to fill in the noticeable voids. And optics weren’t the only problem; due toastronomical administrative costs and unkept pledges, Hands Across America fell far short of its $50 million goal. A year later, the Times reporteda net of “only $15 million for the hungry and homeless after all costs were paid.” U.S.A. for Africa spent about the same amount to mount the event.
That relatively small payout, and the goofy music video, were Hands Across America’s legacy — until now. Jordan Peele was 7 years old (roughly the same age as little Adelaide in Us) at the time of Hands Across America. And maybe it took eyes that young to look at this sweaty attempt at ’80s activism and see something not corny, not self-aggrandizing, but deeply, undeniably sinister.