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 Lindelof’s Watchmen and Peele’s Get Out 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.
Before terrifying us, Jordan Peele overwhelms with cultural signifiers untethered from their referents in his latest, Us.
Jordan Peele’s home invasion thriller, Us, relies on a clutch of jaw-dropper reveals and 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.
Why is it that exploitative home-based prisons set in the homes of white men feature largely in the social imaginary these days?
