Laying the everyday experience of Black life in 1950s America against Cthulhuian nightmares, Misha Green and Jordan Peele's Lovecraft Country suggests intriguing parallels that are often lost in its narrative dead-ends.
Hollywood is increasing Black representation but Damon Lindelof and Jordan Peele challenge audiences to question the authenticity of this system.
The first five episodes of The Twilight Zone (2019-) developed by Jordan Peele, Simon Kinberg and Marco Ramirez, vary wildly in quality, but even the best of the bunch lack nuance and bite.
The budding auteur's follow up to Get Out, Us, is murkier than its predecessor but features a treasure trove of potent references to keep its ambitious premise afloat.
At its best Jordan Peele's Us shows that when a society subjugates and marginalizes huge swathes of its population, it is doomed to devour itself from within.
Jordan Peele's home invasion thriller, Us, in which a family is threatened by their doppelgänger, relies on a clutch of jaw-dropper reveals but also a creeping sense of universal guilt.
Get Out's Sunken Place is not at a distant location -- it subsists and persists in the here and now. Kanye West, Kim Kardashian and Bill Cosby should know this.
With the Academy Awards upon us, the Flipside examines whether the world's biggest platform for movie recognition might actually get it right this year, and avoid any, let's say, giant televised mishaps.