Isn't Jeremiah 11:11 about the Israelites and idolatry? If you put the verse in context, that is

Huh, so was I the only person who was genuinely kind of freaked out by this? Get Out was goofier and more fun to watch, but I was just constantly kind of overwhelmed by how tense I was watching this

Can't think of one?

you can't think of a screenplay? I thought it was super easy to write something without plotholes and you were a smart person or something?

why can't you come up with anything?

So you agree that no other movie has more plotholes than "Us." Thanks for agreeing with me.

I like to imagine the average Yea Forums user trying to watch a giallo flick and sperging out about how it doesn't make sense. Plotfags truly are the most basic plebs on this site

why can't you give me your pitch you have been working on for soooo long? you seem to be able to poke holes in other's plots but I don't see anyone offering you any money or platform for your ideas. could it be that your ideas are shit? or that you actually have no original ideas? the world may never know

It wasn't bad, the comedy was great, loved the characters. But the ending just felt, I don't know, a bit underwhelming? The whole sequence at the family friend's place was great tho. Soundtrack was pretty great as well. I'm not saying im deeper than the movie, just saying I was expecting some different explanation for the whole underground doppelgänger society

>different explanation for the whole underground doppelgänger society
like the are aliens? or zombies? or what? if we are following the "logical based arguments" which is retarded for horror the doppels could have only come from so many places if not thin air? they were created by the government and the government(s) or mad scientists or whatever trope fucked up and abandoned them. I don't understand why anyone wants more of an explanation than that.

Because plotfags are extremely dull people who want everything explained to them instead of reveling in an atmosphere

I thought it was like an 8 the first time I saw it, then I saw it twice more and landed on a 6.

The pacing is good and the atmosphere is pretty well done, but it's really nothing that special as far as the genre goes. Also all the characters are pretty unengaging or poorly fleshed out, some of the scenes are horribly executed (sprinting black man, string stab when lady walks by, etc.), and the violent ending was a seriously disappointing cop out from a movie with such an interesting premise. They could have gone so many more intelligent directions besides "now he just massacres the whities lol." It's really not a 10/10. I'd be curious to see how Us is, though. But not that curious.

this

I know the government already experiments on people with or without their consent. I wonder if plotfags knew that they would think the movie is more scary or logical or whatever

just because you don't agree with something or think a premise is dumb doesn't mean there's plot holes. it follows its own internal logic for the most part.

just so you understand what a plot hole is going forward would be if they establish something in one scene and then contradict it in the next or ignore it entirely. there's definitely flaws but I wouldn't say there's many plot holes in Us. I think you just don't like the movie, which is fine, but most criticisms of the movie I've seen in the thread have been autistic nitpicking about the story, when that's obviously not the point of the movie at all. It never tries to be some super intelligent mystery, so treating it as such is brainlet behavior.

Disclaimer, I haven't seen this movie. But I just wanna say, you can't just call people "plotfags" as if that completely legitimizes their arguments. It's all about how the film is executed. If you complain about lack of plot in something like 2001 or Stalker, then yes you're a pleb because those films are obviously setting up a world where atmosphere takes precedent over plot. However, if a film establishes itself to have a more traditional structure and script (as this movie SEEMS to be doing from my limited knowledge) and then fails to deliver on these elements, complaining about plot is a totally legitimate argument, and you can't counter it by saying "it's not about the plot bro"

well you should see the movie, if it interests you of course. regarding anything you may or may not have read about scissors, some people don't know what a goddamn METAPHOR is.

The plot of this film is very obviously just a vehicle for its creepy scenes. Most of these people complain about how it "meanders" as though it had somewhere in particular to go outside of spooky deaths and spooky changelings. Plotfags only know one way to watch films, and it's the marvel formula

It's directed by Jordan Peele; don't think there's some esoteric message behind it.

alright fair

>I haven't seen the movie, have no idea what you're talking about, and no idea what I'm talking about, but here's my dumbass opinion anyway
k

It wasn't even scary. How can a horror movie be good if it isn't scary? Lupita nyongos raspy voice had me laughing, not frightened

Not to mention all the times Peele had the characters explain exactly what was going on in goofy ways rather than being terrified

>Durrrr the audience won't remember the boat veers to the left unless the dad loses all sense of terror treading water while being pursued by a maniac

It was amateurish and "twists" are poor devices for trying to immediately establish complexity.

the raspy voice was kinda dumb but the rest of your post just seems like you really don't have anything to say.

>wasn't even scary
how to spot a complete plen. AND you go on to use some $2 words to try and sound like you are some kind of expert. it's fine to be a plen but don't be a poseur

you can think the voice was dumb and would have preferred a different pitch or sound or what the fuck ever but if that had you actually laughing that is the definition of autism

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I found it didn't have the consistency to do away with plot either. If you approach it as a psychological metaphor about Lupita's character or some other bullshit then it comes across as a really sub par art film. the movie couldn't decide what it wanted to be in my view. The comedy/horror dynamic seemed really off key also and I normally like that kind of thing

I wasn't cackling, you faggot, but I did chuckle. Heres the movie telling me to be scared but instead I get >muh muh c-c-christmas presents were h-hard.

Meanwhile red suited scissor people are howling like actual apes and they're armed with scissors? That's scary to you?

I agree that the comedy never really hit for me, but I don't think it has to be a metaphor to avoid being plot focused. It's just supposed to be creepy, which I think it is. Thematically, it's fairly straightforward in being about how the people and monsters can't be differentiated by their violence, not exactly a new idea, but still one that made me uncomfortable as the daughter beat a girl to death

the raspy voice makes sense tho. she doesn't speak regularly and even if she does her doppelgänger fucked up her throat when they were kids so she's bound to have a fucked up voice

The film is 3/10
>every white person in the film is bad
>every black person in the film is good
>every actor sucks
>the cinematography is boring and best and when it's not boring it's retarded (the guy running at night)
>the screenplay is abysmal, such as all that exposition in the third act because "it makes the procedure more likely to succeed when we tell the protagonist (and the audience) the plot"
Someone needs to kneecap these uppity niggers instead of giving them a pass for making garbage films.

What's the payoff for spending so much time mad about black people? Is it lucrative?

>What's the payoff for spending so much time mad about black people?
I don't hate niggers, I love white people.

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Did anyone else get a cube vibe out of the last act?

Having a raspy voice is fine, but the delivery was just bad and the lines were dumb too. Any tension was erased by peeles need to overexplain everything.

>S-s-soft Christmas presents??!?
>They're going around
>*Whistles through teeth* veers to the left *eye roll*
>That would take some coordination

Show, don't tell me to be scared.

true, good points

I don't really care who you hate, I just want to know what the payoff for being angry about it every minute of the day is

The payoff is a future for white children.

I still don't get the rules of the dopplegangers.
>They have to vaguely copy what the originals do
>Except when they don't have to
>In one scene with the dad it's implied they feel what the original feels
>Except when they don't
Maybe I'm missing something.
The introduction of the doppelgangers and the initial home raid was kino but the film slowly peters out after.

Why was the doppel of the doomsday hobo the first one out of the tunnel and first to kill his real self over any other clone? How did no one notice him during the day if the attack began at night?

Why didn’t Adelaide just leave the tunnel after we was released from her handcuffs?

Why was Tim heideckers doppel able to take a poker to the head, though all the other doppels die easily?

How did evil Adelaide know about the mistreatment of the clones at the beginning of the movie in vivid detail despite living underground only after the government had abandoned the project and with no one to tell her what happened prior to her living there?

You don't understand? Here, let me explain it to you:

Suspension of disbelief.

You're a fan/advocate of the director himself, do you're getting defensive over the flaws others are pointing out, flaws that affect their suspension because they're not willing to overlook them due to a lack of emotional investment that incorporates factors external to the film. People can buy creepy doppelgängers, they can buy the (unnecessary) changeling twist. What they can't buy is all that *and* a massive government conspiracy that hinges on a bunch of violent, unhinged duplicates along with a girl who has no reason to stay voluntarily remaining in a vast subterranean facility eating raw rabbit when the boy is fascinated with "FIAH" when they all had easy access to the surface.

And even though I'm not that guy, here's my pitch:

Creepy, disappearing, supernatural House of Mirrors with (possibly literal) Satan as a carnival barker. The two families both enter while attending the boardwalk fair. They encounter truly disturbing, distorted reflections of themselves and the "experience" includes one creepy portion where the lights go out completely and everyone in there hears whispered voices saying all manner of terrible shit that all sound eerily like the voices of their friends and family. They leave unnerved, and throughout the movie, they each keep encountering friends and family that are acting differently - voicing shocking opinions, saying terrible, hurtful things, up to and including racial slurs. The animosity between them all grows as the confrontations escalate, with the ultimate revelation that their "reflections" are pitting them all against each other, but with thoughts that the originals really do have. Separate people either succumb to their anger and get absorbed into their duplicates with some disturbing body horror or they rise above them.

And "Satan" turns out to ultimately be a force for good maybe even in spite of himself.

I never knew yelling about black people online could have such a wondrous effect on birth rates. Must be a hell of an aphrodisiac

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Get Out wasn't great, but this was way worse.

My gf said that the non doppel taught them why they were always copying, so therefore they didn't have to copy all the time. That was fine enough for me. I still didn't think the movie was scary tho and I got sick of fucking 10 minute explanations trying to convince me a ballet dance off is scary or something.

>says the 400lb basement dweller
lmao there's always gonna be kids of every color, stop thinking you're in some crusade because you were born to specific people

yeah the ballet scene was rarted

fuck off retard

>How did evil Adelaide know about the mistreatment of the clones at the beginning of the movie in vivid detail despite living underground only after the government had abandoned the project and with no one to tell her what happened prior to her living there?
>Why didn’t Adelaide just leave the tunnel after we was released from her handcuffs?
These were the ones I don't get.
Like I understand subtle hints like how she was the only one who actually spoke English or how that tv commercial from long ago inspired her to do the chain but why the fuck didn't she leave? Why was there subtle hints about her being born there and knowing everything about the tunnels despite being the original?

The movie kinda falls apart when you just ask "Why do the dopplegangers only copy the original some of the times until they just stopped but sometimes they still do it?"

Really? I thought it was the most engrossing part.

I just don't get why you'd bother getting caught up in those questions. They're not relevant. If we wanted we could spend a couple hours coming up with explanations, but there's no point to it

maybe I need to rewatch it, I'll give it a second go and see if maybe I change my mind.

To be fair, it wasn't explicitly stated it was the government, just that "humans built this place," which could be interpreted as metaphorical too. And maybe some kind of power keeps one of them down there until some cosmic tipping point, like too much negative energy in the world or whatever. That would have fed into the whole 'society masks a sick part of us motif'. I think all of these things could have been good if Peele actually had some solid editing and outside input or actually focused on what he wanted to say rather than trying to force in ballet imagery unnceceesarily and all this other crammed in stuff, in addition to a pot of unnecessary dialogue and trying to seesaw the horror and black family comedy thing. It could have been good but it was just really unpolished. That and the cinematography was absolutely non-existent. I can't recall a single good looking shot outside of the very beginning in the mirror area and again at the end... A little further into the mirror area.

It also just occurred to me:
If Adelaide was the original then why did she have the same exact husband,daughter and son doppelgangers as the others? Is it the tunnel itself that makes a doppelganger what they are?
Because you still need basic rules and logic to understand how the setting of your narrative works. Having mystery and intrigue is great but we still need to understand how the world works.

We don't need to know why the dopplegangers exist. Stuff like the vague government experimination don't need to be further explained. Hell, they could've cut that out fine and had the origins of the doppelganger be a complete mystery and it'll be perfectly fine.

But what is mandatory is having a consistent understand of the dopplegangers abilities. We need to understand what exactly the threat even is otherwise you just have nonsense. If the film keeps changing the rules of how certain things work then you may as well not have any rules and throw shit at the wall.

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There was no context/necessity for it. And watching nyongo pretending to do half a pirouette in the cutbacks looked stupid. Like what was the reason? We dance with our darker halves? I need a whole tacked on character trait just to make a cliched statement? Fucking gay.

Here's why we get caught up in them: scale. If this had remained something personal within a small group of people instead of literal "Hands Across America," we wouldn't need an explanation. The storyteller chose to give us one, though, and it wasn't a particularly good one. If he wanted to give his audience an artsy allegory, he should have had the confidence to just let it be that. Instead, he tried to have his cake and eat it, too, giving us an allegory with some social commentary while still attempting to ground it in some degree of logic and internal consistency. By trying to do both, he didn't pull off either particularly well.

>If he wanted to give his audience an artsy allegory, he should have had the confidence to just let it be that.
This.
Honestly, the film would've been great if it was just a short film that ended when the family escapes on the boat.

I totally agree. It tried to do too much and ended up doing a lot of things very poorly. Normies will excuse it tho cuz of
>Muh twist

i agree, i was left very impressed with cinemotagraphy, the camera work, the fucking atmosphere, and the fucking music was spot on. The scene where the family of 4 gets you know what by the other family of 4 is...........tense