Jordan Peele

21 Apr 19

I have always loved a good black movie. There always seems to be something about them. The feelings, the emotions, the “drama”. Not to mention above all that seeing all that beautiful brown skin is something amazing. Beautiful to see all the successful melanin on screen is always a great thing. Now with that said, […]

21 Apr 19
Kendall Lacey's Webworld

Let me just say that I do not consider Jordan Peele to be the new rebel of horror. I feel that by being held up as the biggest thing in the scene, he has found himself in a difficult position, where when you see his movie, instead of your first thought being ‘Was I entertained?’, […]

21 Apr 19
News Archives Uk

eLisa Moss wants to go to an honest place. If you can not see what we are doing, she says, how can you find out and confront what is happening around you in our country and in this world? They are sitting near a hotel bar to promote the US release of their indie film […]

21 Apr 19
The Liberator Magazine

Written by Shini Meyer Wang.Graphic by Peyton Cabaniss. – Ripe with relevance, symbolism, and nuance, director Jordan Peele’s second horror hit holds a mirror up to us, prodding at our neglected awareness of the monsters within as individuals and as a society. A theme of duplicity not only saturates the story, but also its structure. […]

21 Apr 19

The second film to come out of who will definitely be this generation’s M. Night Shyamalan — except five times more lovable, ‘Us’ tackles the theory that “we are our own worst enemy”. The film follows a family on vacation that comes across a group of dopplegangers (people who resemble their counterparts), and attempt to […]

20 Apr 19
Jen Judges Everything

Us is one of those movies that is great as long as you don’t think too hard about it. On its surface it’s a great thriller about doppelgangers that raises questions about identity and the nature of being “human” while offering a few chills and even a few genuine laughs (largely at the bitchy couple […]

20 Apr 19
Krzyk Wilhelma

Jordan Peele pierwszym filmem w karierze, raz na zawsze odmienił kino grozy. „Uciekaj!” z 2017 roku zredefiniowało ten skostniały gatunek, co zostało zauważone i docenione, zarówno przez krytyków, jak i widownię. Oscar za „najlepszy scenariusz oryginalny”, Satelita dla najlepszego reżysera oraz łączny dochód oscylujący w granicach 255 milionów dolarów, przy budżecie wynoszącym niecałe 5, chyba […]

20 Apr 19
World TVR

In 1986, youthful Adelaide Thomas get-aways with her folks in Santa Cruz. At the shoreline, Adelaide strays and enters a corridor of mirrors, where she experiences a doppelganger of herself and is damaged by the experience. In the present day, a now grown-up Adelaide Wilson (Lupita Nyong’o) returns to their family’s shoreline house in Santa […]

20 Apr 19
What Stephanie Loves

Entertainment | A couple weeks ago, I saw the movie Us. Now, I like to consider myself a horror movie connoisseur, but this movie left me puzzled. After seeing the trailer for the first time, my expectations of Us was that it would be similar to the 2008 American horror film, The Strangers. To my […]

20 Apr 19
the m0vie blog

Katsuhiro Ôtomo’s Akira, featuring Graham Day and Marianne Cassidy.

At time of recording, it was ranked 249th on the list of best movies of all time on the Internet Movie Database.

Show notes, including links:

Follow us on twitter at @thetwofifty.

20 Apr 19

In the new Jordan Peele movie Us, the four members of the Wilson family are haunted by a quartet of creepy doppelgängers. Fantasy author Tananarive Due, who teaches classes on black horror at UCLA, is ecstatic about the movie. “It’s this beautiful, glorious moment I’ve been waiting for my whole life,” Due says in Episode […]

20 Apr 19
Lake County Record-Bee
I had just about given up on the new “Twilight Zone” reboot on the CBS All Access streaming service because two out of three episodes aired thus far had been either throwaway inferior re-imagined versions of the original anthology series episodes from the late 50s and 60s, or in the case of the pilot, an uninspired, barely original story which seemed out of place with the original series’ tone and mini morality plays which by now have become classics in the minds of many fans. Yet, the third episode changed everything. The best fiction on any medium, either print or broadcast, elevates the material and anyone who is familiar with creator and narrator Rod Serling’s classic show is undoubtedly aware of Serling’s quest to circumvent the roadblocks placed by the CBS network censors of his era. The brilliant television writer figured out that by couching his social commentaries in the form of science fiction, he would be free from network scrutiny and thus be able to use the format to write the types of insightful, scathing and sometimes satirical stories with the classic twist which became a hallmark of the series. Consider if you will American filmmaker and actor Jordan Peele. He is hardly the first person to wish to catch lighting in a bottle by re-creating the eerie and suspenseful aesthetic and atmosphere of Serling’s original. This is in fact the series’ third revival counting a noteworthy reboot in the 80s which is remembered for its creepy opening credits, haunting theme by the Grateful Dead and a few standout episodes featuring future stars and a 2002 short lived effort on the defunct UPN network narrated by actor/producer Forest Whitaker. Peele is best known for notable film and television work in comedy and horror and has credited films like “Candyman,” “Rosemary’s Baby,” and “The Silence of the Lambs” as major influences. With “Replay” Peele is able to encapsulate a bit of social commentary into his time manipulation story of a mother (Nina played with a mix of horror and equanimity by Sanaa Lathan) trying to protect her college age son Dorian (Damson Idris) from a racist state trooper. There is a typical Twilight Zone magical element to the story involving the fantastic properties of an old school cam corder, but the highlight of the episode is Nina’s frantic response to her inability to shake the cop’s consistent hounding which gives the tale its added heft as she walks a tightrope throughout the episode. Had the episode been created with another filmmaker at the helm and not viewed through the prism of the life experiences of an African American cast and producer (Gerard McMurray), maybe we don’t end up with such a haunting social commentary, the kind the original series was bold enough to tackle routinely. An analysis of available FBI data by Dara Lind in 2015 found that US police kill black people at disproportionate rates: For example, black people accounted for 31 percent of police killing victims in 2012, even though they made up just 13 percent of the US population. German Lopez writing for Vox last year found that there remain huge racial disparities in how police use force. When you consider racial minorities made up approximately 37 percent of the general population in the U.S. and 46.6 percent of armed and unarmed victims, but they constituted 62.7 percent of unarmed people killed by the police (According to a 2015 analysis of police killings by the Guardian) Lathan’s powerful performance from a concurrently tense and riveting story by Selwyn Seyfu Hinds takes on a relevant, realistic and haunting quality. The best fiction attempts to hold up a mirror to show the reader, viewer or audience the ills of society, while addressing social fears and contemporary issues at the same time it endeavors to entertain. This was the case with some of the best episodes of the original (“The Monsters Are Due on Maple Street,” “The Obsolete Man”) and with this worthy new entry the creators appear to acknowledge this crucial element of the original and seem to wish to continue the tradition with a good mix of socio-political commentary and sci-fi tropes; there may be hope yet for this new version of this celebrated science fiction anthology. The new “Twilight Zone” streams on Thursdays on the CBS All Access Network. Ariel Carmona Jr is managing editor of the Lake County Record Bee.