Movies:Star Wars Episode IV: A New Hope Color Out Of Space Actors:David Benioff D.B. Weiss Phil Hay Matt Manfredi Karyn Kusama Jordan Peele Since wrapping up Game Of Thrones, writers, producers and and occasional directors David Benioff and DB Weiss have been signing onto big new deals (Netflix) and dropping other planned projects (Star Wars ).
According to Variety, Yahya Abdul-Mateen II –perhaps best known for playing Black Manta in Aquaman – has been cast as one of the central figures of the new Matrix movie, set to join Keanu Reeves and Carrie-Anne Moss on screen.
Universal Pictures has announced that the studio has entered into a five-year exclusive production partnership with Monkeypaw Productions, led by producer, director, and Academy Award-winning writer Jordan Peele ( Get Out , Us , BlacKkKlansman ).
There’s no way that people could’ve predicted that Jordan Peele would become one of the leading voices in the horror genre, and yet he managed achieve huge critical acclaim as a horror filmmaker with only a single film.
The role of Adelaide requires such a range of emotions and physicality it’s a treat to watch Nyong’o run away with the film.
The Duality of US – Jordan Peele goes in-depth on some of the key themes and imagery in US – including Doppelgängers, Hands Across America, The Nutcracker dance scene, rabbits and the infamous 11:11 coincidence.
Jackson Remember John Singleton: ‘A True Inspiration’. Singleton was the first black filmmaker ever nominated for Best Director and remains the youngest ever nominee – he was only 23 years old while making BOYZ N THE HOOD.
Jordan Peele made a big impression with the first film he directed: Get Out (2017), nominally a horror film but with a nasty, satirical take on race relations and the American liberal class.
Sound is a major aspect of horror production, which Jordan Peele definitely seems to understand. Smart money says Michael Abels is brought on Jordan Peele's third movie, whenever and whatever that might be.
“Us”, an invasion thriller that turns into a critical look at the American class divisions, marks the second feature of Jordan Peele. Jordan Peele, even if both “Get Out” and “Us” lean toward horror comedies, strikes gold by imbuing his films with metaphors and symbols.
Why Us' Twist Ending Was Necessary, According To Jordan Peele. According to director Jordan Peele , that twist was necessary because it served the entire theme of the story. This is obvious in the fact that the "monsters" of this horror movie are dark and twisted versions of the main characters.
Creepy, disturbing and deliciously, irresistibly open to multiple interpretations, Jordan Peele’s follow up to “Get Out ” brings us another mischievously deep dive into the shameful psyche of America with a psychological sci-fi thriller of identity politics through the looking glass.
Jordan Peele's thriller Us is as political as it's personal, with its incisive commentary on Donald Trump's divisive ways. So the fear of fire that she would have cultivated in Jason ends up haunting him in the form of his fire-spitting doppelganger.
Peele manages to keep your typical/standard horror story structure, but made it engaging and intriguing enough to where you were not looking at your phone wondering why the movie hasn’t ended yet. But a horror film that does not spook or scare immediately takes a huge hit.
Jordan Peele's Us features twins who played Friends' baby Emma; has Twitterati 'feeling old'. Noelle and Cali Sheldon were babies when they shared the role of Ross and Rachel's daughter from 2003 to 2004.
Ideally this is just the start of Peele's film universe , and another movie reveals a connection between the events of it, Us , and Get Out. What's With All The Rabbits?
Jordan Peele Says He Isn't Interested In Casting A White Dude As The Lead In His Movies. To be fair, Jordan Peele simply says he doesn't see himself casting a white actor in a lead role because he's seen the movie before.
There’s a huge amount to dig into with Jordan Peele ’s doppelgänger horror Us – so much so that we sat down with the director for a spoiler-filled chat about his hugely anticipated Get Out follow-up.
It's pretty incredible when you think about it, however, because the movie was actually made start-to-finish in about a year - and the writer/director behind it wasn't entirely confident going in that it could be done properly within that time frame.
But it wasn’t always that way, as filmmaker Jordan Peele revealed to Empire in a Spoiler Special podcast interview. And so then the idea came to have Michael go off on his live strings, and sort of deconstruct that song.” Fittingly, the finished piece on the soundtrack is titled ‘Pas De Deux’.
Then, Chris is joined in the podbooth by Empire 's editor-in-chief, Terri White, and George Harrison lookalike-in-chief, John Nugent, to talk about their thoughts, feelings, and theories about the film. So, wait for the clock to strike 11:11, fire up the podcast, and listen to us rabbiting on.
In addition to the Hands Across America commercial being important to the plot of Us , it also mirrors the film itself, because while the ad wants to be full of hope and optimism, Jordan Peele actually had a very different reaction to it.
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. Us, even with its flaws, cements Jordan Peele as not just a horror film auteur, but as a talented filmmaker in general.
"Us" feels more like Jordan Peele thought up a slasher with an interesting twist and freaky imagery, but got the idea that it had to have a social message and so contrived a reason for it to happen.
In the time since, not much has been revealed about the direction of the new Candyman , but while sitting down with DaCosta this past weekend, I learned about a key ingredient in her collaboration with Jordan Peele: I think something that we connect on a lot was the way we view horror, and our love of horror.
The film’s scope is much larger than Get Out’s, which allows Peele more room to flex his horror muscles, but at times this threatens the integrity of the story he’s trying to tell.
After all, Peele himself has said that the idea was to make Us a straight horror film, and not so much a cultural examination, so in this way it shouldn’t be comparable to its predecessor, much like The Sixth Sense shouldn’t be compared to Unbreakable (maybe that tether to Shyamalan works after all).