Two years ago we saw Get Out of the African-American writer and director Jordan Beale. The film, which discussed the subject of racism and won an unrivaled admiration and nominated for several Oscar awards including the best film for 2017.
"Get Out", who did not hide his message in the question: Will America overcome its racism? He used the mystery until it came to an end and then turned into another set of films, notably The Stepford Wives. Ann Beale started with a different film and ended up familiar.
Beale returns today to Us, an ambitious horror film about the quality of house invasion. In this film, he returns to the same mined area to discuss racism, class, and privilege in American society. In the films Bail is lost in the end, as it is clear that the man has a lot of ideas trying to connect them all in less than two hours; the result is not necessarily a masterpiece.
The Wilson family is a black, Madeleine (Lobita Nyongo) who has gone through the ordeal of her childhood 32 years ago (foreground scene) and today is the wife and mother of two children. Her husband Geeb (Winston Duck - in the second collaboration with Nyongo after Black Panther) and the two children Zora (Shady Wright) and the eccentric Jason (Ivan Alex) wearing a mask in the form of a creature resembling a wolf.
The family is heading for a holiday on the beach of Santa Cruz, the same place where Adelaide has been subjected to her distress. On the first night, the light of the villa is extinguished, and when the four look outside, they see another family of four people clasping hands in the dark and watching them.
The second family is made up of the Wilson family, Adelaide has a similarity, as does Goib and the two children. The other family and her shadow family wear red clothes, Adelaide is barely talking, and the rest are either silent or screaming as if they have mental problems.
From this scene, it is clear that Bailey's direction is to present a story about the socially marginalized group who were forced to live underground, and when they found the chance to come out, adopted the method of killing and violence to restore what they consider their rights.
When the shadow family breaks into the villa we can see them clearly, they are not identical copies of the Wilson family. Their hairstyle is different and like an ungainly beard and a face like a warped Jason and holding sharp scissors that are obviously a killing tool.
When you ask Adelaide her likeness, which is empty, empty, what kind of human are you? The response comes straight: We are Americans! Just like you! This is a clear message, like the sun, about what Baile wants to say. The idea of employing groups of zombie-like humans who are hungry to kill to indicate class is not bad but not new either.
Do you live in Raghad to live with your family? Do you have a beautiful house and lead a luxury car and you have enough to eat, so be thankful to God. Many other people can hardly survive the crumbs they have, and this is not necessarily the result of a mistake. This is exactly the message of Baile which is also referenced through a verse of the Gospel.
The Wilson family has white friends, Josh and Kitty (Tim Hedeker and Elizabeth Moss) and their physical condition is better than Wilson, and even the white family is under attack by zombie creatures of their ilk. "We" are not fun to see in all its parts, it is after ensuring the interest of the viewer begins to clutter and dumping in a philosophical explanation incomprehensible to all or let us say a boring lecture of the class filled with symbols and dance scenes intersect with the scene of Adelaide fighting with her likeness, You want to leave the lounge after you received the message long before that moment.
The film is full of symbols and simulations that accumulate so quickly that Bill himself can not connect them optimally or in time. As Bail expands on the explanation, the film comes out of control because the man does not want to scare or entertain the audience as much as he wants to lecture them. More than once, from his first scene to an event called "Hands Across America," the film brings together 6.5 million Americans in 1986, standing next to each other, shaking hands with each other.
Volunteers donated $ 10 to participate in the event and donations went to charities fighting hunger and poverty. In the film, we see the shadow world, which later emerges more and is mentioned in the news bulletins, of groups that stand exactly in the way of participants in the Hands Across America event.
But it is hard to know what Bail is trying to say through that particular picture: Are Zombies creatures unconscionable copies of humans? Or are they themselves without knowing that fact? Is their unbridled anger stronger than the voice of reason and wisdom they have for example? As if Peyl said that their anger was alone compared to human divisions.
"We" have nothing new except for his idea of a world under the human world. But if we compare it to his peers in the horror film genre, there is nothing new, we've seen zombies and invaded houses in hundreds of movies from the last five decades.
There is another surprise movie may not surprise it because it duplicate and generally do not survive the cliches! But we say this film will succeed because of politicization. "We" and "Get Out" start better than their end. A big difference between them is that Get Out has the thrill of making the film's terrifying atmosphere, while the "we" missed this factor, perhaps because of the overload of ideas in Bale's head, which caused imbalance. In the end, how does Bale want us to feel about the shadow world deprived of its most basic rights, headed by the sun's rays, turning them into murderers? Sometimes, the most beautiful films are ambiguous but the mystery of vague thinking does not make cinematic art, but bold! Between the film you think about it and your site in life, and another think over and over in what the maker wants to say by explaining the talismans encapsulated in what the author thinks judgment!
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A tedious lecture about the class, having ensured that the viewer's interest begins to clutter and sink into an inexplicable philosophical explanation.
The film comes out of control because the man does not want to scare or entertain the audience as much as he wants to lecture them.