One of the issues is that the Rhodes’ relationship isn’t developed at all, nor are their individual personalities, beyond the fact that they f**king hate immigrants. The workers are also portrayed as h***y, “I’ll do whatever it takes for cash” mules. “I can be very good inside the house,” Hector proclaims to Liz early on, ready for action. This kind of one-dimensionality is particularly glaring in a film that purports to have a message.
Lynn Collins hams it up to 11. She’s fun to watch, but the failure to imbue her ragingly racist character with anything resembling depth ultimately renders her performance repetitive. “You can’t go inside,” she scolds Tonio. “Have you seen yourself? You’re filthy.” When the workers confront her in Spanish, she snaps, “Do I look like a f**king immigrant to you?” The theme of white folks loathing Spanish is prevalent: “You speak English, motherf**ker?” Ben demands, “No more talking in code,” Liz wisecracks. That’s as subtle as this satire gets.
“… it certainly never digs deep under the surface.”
James Tupper doesn’t fare much better, in a similarly one-note feat of acting. Rigo Sanchez and Josue Aguirre arguably make up the highlight of the film. Their relationship is moving, and real, which also accentuates how forced the unfolding events and characters surrounding them are. Sadly, they are trapped within the confinement of a stupendously obvious script.
Those looking for thrills ‘n chills will be disappointed. Sure, there’s a “stomping of mice with a chandelier” sequence, a killing-by-stiletto, and a chemical-guzzling torture scene, among others, but they fail to build tension or resonate. Beneath Us claims to be a critique of the elusive American Dream and a treatise on white privilege, but it’s not nearly sharp or subversive enough to live up to those lofty claims. In fact, it’s rather cruel, nonsensical, and at times cringe-worthy in its lunkheaded stab at Big Themes. Best we leave Beneath Us behind us.
"…their relationship is moving and real"
