The plot, for the uninitiated–but, good lord, what is anyone uninitiated doing here–involves Adelaide (Lupita Nyong’o) returning as an adult with a family of her own to the beachside city where she once had a chilling encounter with a doppelgänger as a child. Writer, producer, and director Jordan Peele on the set of his film, Us. It’s a movie that leaves viewers with more questions than answers–the kind of movie where, love it or hate it, you almost have to go somewhere afterward to chop it up and try to figure out just what happened. Still, it’s a whole lot of fun following the trail.Some Get Out superfans may be let down by their own stratospheric expectations for Jordan Peele’s follow-up, and it just may not be others’ hypnotic cup of tea, but Us is not a film that invites shrugs. Unlike in ‘Get Out’, not all of the breadcrumbs Peele leaves us lead anywhere. All this offers enough strangeness to distract from a larger shapelessness that creeps in once the film has settled into the nerve-shredding home-invasion thriller it is. Nyong’o is especially good, her evil twin speaking in a strangled croak that sounds like inhalation of breath rather than exhalation. Peele gives each family member a second role, and they twist their bodies into impressively gymnastic, feral crouches. ‘There’s a family in our driveway,’ her son says one night, noticing their four red-clad doppelgängers, the plot kicking into overdrive. For some reason, they’ve bought a summer house by that same beach, and it’s where Adelaide must return – unless, of course, the beach comes to her. After a brief mid-’80s prologue in which a lonely kid encounters something awful in a beachside carnival fun house, she becomes the grown-up Adelaide (Lupita Nyong’o), now with two children of her own and a dad-joke-dispensing husband (Winston Duke). Peele, as ever, blends comedy and screams like a champ, and his actors are terrific. ‘Us’ is too confidently made to call it a second-movie slump. But a plot embroidered with such hints never quite lives up to its juicy promise, as its barbed critique of the American Dream proves a notch or two too oblique to land. When there’s a bunch of bunnies in cages or an apocalyptic Biblical quote on a breadboard, they get stored too. When ‘Us’ tells us early on that there are thousands of miles of tunnels under the United States with ‘no known purpose’, you squirrel the fact away in your brain, hoping it’ll be important later. Jordan Peele’s debut movie ‘Get Out’ rewarded eagle-eyed attention to detail, so you’ll be on the look-out for clues going into his new horror film.

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