Clearly as much of an actor’s showcase as a horror film, Us boasts some top-notch performances. With every cast member pulling double duty, we get some Orphan Black levels of versatility on display - the humans are charming and relatable, their mirror selves are feral and terrifying. And as much as Winston Duke mugs with hilarious dad jokes, the focus is on Lupita Nyong’o as Adelaide and her counterpart Red, the only member of the Tethered that speaks. One can see why she is front and center among the cast: a shapeshifting force of nature, the actress commands attention whichever skin she's inhabiting at the moment: from loving mother to scarred survivalist to deranged killer, Nyong’o is a revelation.

Us, being a Jordan Peele film, is also loaded with social allegory. And while it may not come with the snap-fit of Get Out’s commentary on race in the United States, the film does have poignant things to say when it comes to the dichotomy of our national identity. The allegory makes sense, but is ultimately undermined by Peele’s need to explain it to us. Red, when asked who she is in her first moments on screen, rasps, “We’re Americans.” As if the motif of dark mirror images and Hands Across America weren’t enough, it’s a line that shatters the fiction with its heavy-handedness. Just like a magic trick, a film’s metaphor that has to be explained is robbed of its mystique and elegance, with the bigger shame being that it was one that never needed to be clarified in the first place. The same goes for the story’s big third act reveal; Us’ grand twist isn’t particularly surprising, but like all good swerves, it can be seen as a natural terminus for our characters that simultaneously recolors our perspective of the entire film. Masterful as it is, it’s also accompanied by a frustrating exposition dump, a wholly unnecessary hand-holding that deflates the entire ending, even if it is shot in a cool-as-hell split diopter shot. Jordan Peele’s penchant for exposition is more of a bad habit than a fatal flaw, holding Us back from being one for the ages, but still allowing him to demonstrate his mastery of the genre. The audience is smarter than Peele gives credit for, and a little trust in its ability to read between the lines would go a long way.

This review has been serious business so far, but I’d be remiss not to mention just how fun the movie is - full of laughs, horror-tinged slapstick, and genuine thrills, Us is just a good time in general. The film is also perfect for horror and non-horror fans alike. Chock full of non-intrusive Easter eggs and witty references, longtime horror nuts will have a field day; and for those looking to dip their toes in the genre’s sanguine pool, it is the perfect gateway film that will stimulate the adrenal centers of the brain without triggering any heart attacks. Us, even with its flaws, cements Jordan Peele as not just a horror film auteur, but as a talented filmmaker in general. For an entertainer that was in sketch comedy only a few short years ago, Peele is two for two as a director, with both films being completely original works - a remarkable achievement in this age of adaptations and cinematic universes. Us may stumble with its on-the-nose exposition, but it swings for the fences where it counts: as an affecting amalgamation of suspense, humor, and cultural commentary.

Grade: B+