There are some rather obvious flaws (literally) in its subterranean subtextual underpinnings. An uncompromising (twisted) European arthouse director of the Haneke or von Trier sort, might have done something more with that, but Peele has the pop cultural creds for a more mainstream hit.
And for a film which, unlike the previous one, has no direct references to the matter of race (other than the fact that leaving a key hidden beneath a rock beside the front door is 'white shit'), there is hardly anything in this movie that is NOT about race. That's something masterful.
And at the risk of releasing a tiny spoiler, the ending struck me as an invitation to reflect on the of complications of mestizaje.
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