Sublime Horror

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Author: Rhys Steven Jones

Us review – ‘maybe the evil is us’

“When I decided to write this movie I was stricken by the fact that we’re in a time where we fear The Other – whether it’s the mysterious invader we think is going to come and kill us or take our jobs, or the faction we don’t live near that voted a different way than us. We’re all about pointing the finger. I wanted to suggest maybe the monster we really need to look at has our face. Maybe the evil is us.” – Jordan Peele

Jordan Peele’s new horror film Us, the eagerly awaited follow-up to his Oscar-winning horror debut Get Out (2017), documents the terror of a terrified mother, Adelaide (played by Lupita Nyong’o), as she fights to protect her family from an uncanny band of doppelgänger home invaders. The film opens with a series of haunting quotes, one of which claims that the whole of North America is infested with a network of subterranean tunnels, directly mirroring the above-ground world. From the outset, then, Peele makes it clear that the domestic horror promised in the trailers for Us will give way to something much more expansive, a nation-wide catastrophe. Nevertheless, the cinematic gaze focuses almost explicitly on the Wilson family, for reasons that become clear in a final twist in the closing minutes of the film.

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Domestic horror in Lee Cronin’s The Hole in the Ground

Lee Cronin’s feature debut The Hole in the Ground, which premiered at Sundance Festival in 2019, marks a recent resurgence in Irish folk-horror set in remote parts of the countryside (The Lodgers, Beyond the Woods). Despite its wider setting of an ominous and dark forest, home to an ever-shifting sinkhole which pays homage to the off-the-beaten-track caverns of The Descent (2005) and the claustrophobic woodlands of The Blair Witch Project (1999), the film’s most horrifying and violent moments are intensely domestic.

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