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Jordan Peele se está convirtiendo en el líder de las películas de terror originales que no carecen (y esto es algo que aprecio mucho) de un componente humorístico. Ha escrito y dirigido dos películas exitosas, de las cuales "Get Out" tuvo un mayor impacto. Pero en "Us" aprecio la idea, la creatividad y el giro final. Además, la historia requiere interpretaciones más fuertes de los actores de lo habitual. Un entretenimiento de terror inteligente. (07.06.2019)

¡¿Es posible que esto sea una idea del autor de la genial Déjame salir?! No funciona a ningún nivel, un intento de película de terror con algunos tintes (¡¿quizás filosóficos?!), que técnicamente es una obra maestra de Hollywood, pero que resulta risible e increíble en su contenido. Las escenas que pretenden asustar son torpes hasta el punto de ser ridículas; los diálogos que quieren ser pegadizos y geniales son poco naturales y tontos. Hay una sensación de intento de un interesante trasfondo existencial en el desentrañamiento del misterio de la historia, pero también resulta ser un sinsentido. Es como si el sofisticado violín de la primera originalidad de Shyamalan o las temáticas distintivas de Stephen King estuvieran destinadas a ser tocadas aquí, pero el talento se limitara a un ukelele infantil con la mitad de las cuerdas. (16.10.2020)

I can´t shake the feeling that Peele originally intended it to be a pilot episode of Sterling's cult (and crucial for “peripheral" genres) The Twilight Zone, which will be soon reincarnated. And it would have made a fantastic pilot which would have proven that Peele can pay tributes to the models/originals, keep the spirit and ideas of the original and still make the movie up to date and specific in his unique manner. But it should have been a pilot with a 60-minute footage, not a two-hour movie. Even though Peele is such a good director and has really actors at hand, the essence is so high-quality (it works both as a relaxed genre movie and as a satire) and on top of that, he can take advantage of brilliant Abels and he is not afraid to use him properly, so you won´t be become bored of it, not for a moment. In fact, you will feel quite the opposite. However, I cannot get rid of the feeling that it is an “excellent short story but slightly worse feature film". (26.03.2019)

An overly calculated and sure-footed Oscar-winning film that ticks off the likely situations to come, and they do come, including the pathetic ending. But the dialogues between Tony and Shirley are hilariously written, there's a great spark between them and I laughed my heart out at times. Viggo plays my peer, always eating like me, getting a pot belly like me, just cute. I'd like him to win an Oscar, more than Rami "look-at-my-brutal-attempt" Malek, and more than Ali, who to me is an actor of one expression. (30.07.2019)

For the first three quarters, the second film of Jordan Peele gave me a “fuller” horror experience than his début Get Out. It has first-rate craftsmanship, a brilliant premise, excellent performances led by Lupita Nyongo, and the humour is better incorporated and not intruding. Us was about to get an enthusiastic five-star rating, especially with the social overlap about some kind of uprising of those less fortunate than us being very topical, but unfortunately, it derails by the end. The closing mythological explanation either shouldn’t have been there (so that the doubles worked on a purely allegorical level), or it should have been more bulletproof, because the way it’s presented makes you poke into several practical details of the working of the world of the doubles, which is a road to hell. And the very last twist is even more confusing. Immediately after the screening, I’m not sure whether it didn’t unintendedly make the film lose its meaning. At the same time, I’m looking forward to watching it again in the future and, already knowing the twists, see if it makes sense or not. In any case, Us does provide plenty of material for an “autopsy” and I’m sure it’ll remain in my head for awhile, which is appreciated. (26.03.2019)