CINEMA REVIEW: NOPE (2022)
Directed by Jordan Peele
Written by Jordan Peele
Produced by: Jordan Peele and Ian Cooper
Cast: Daniel Kaluuya, Keke Palmer, Steven Yeun, Michael Wincott, Brandon Perea, Wrenn Schmidt, Barbie Ferreira, Keith David, etc.
Cinematography: Hoyte van Hoytema
*** MAY CONTAIN SPOILERS ***
Following on from the Oscar winning, Get Out (2017), and the should-have-won-an-Oscar-for-Best-Actress-in-Lupita-Nyong’o, Us (2019), Jordan Peele is back with the enigmatically titled, and equally ambiguous sci-fi-Western-horror film, NOPE (2022). Taking on writing and directing duties again, Peele has delivered a majestic looking cinematic feast, brimming with incredibly memorable images involving horses, chimpanzees, cinema, waving inflatables, surveillance cameras, carnival shows, and something very large that comes from beyond the clouds.
So, what’s Nope (2022) actually about? Well, put simply it’s all about cowboys and girls overcoming a monster. But it is much more than that. Because, narratively speaking it is difficult to sum up in a few sentences. Peele builds his most complex film to date by delivering a series of visually powerful set-pieces throughout. He also challenges the audience with an intelligent visual system which thematically links television, cinema, cameras, Hollywood, animals and a spectacular eye in the sky. Like Tarantino’s Once Upon a Time in Hollywood (2019), Joel Coen’s The Tragedy of Macbeth (2021) and Martin Scorsese’s religious epics, Nope (2022), is what I consider to be a big-budget, arthouse blockbuster.
The film, which is divided into chapters, establishes brother, OJ (Daniel Kaluuya) and sister, Emerald (Keke Palmer), trying valiantly to keep the family ranch from going under. Once thriving under their father’s management, the ranch would supply horses to the Hollywood conveyor belt of A-list and B-movie Westerns. With such work now in short supply, OJ is forced to sell horses to local theme park owner, Ricky “Jupe” Park (Steven Yeun), however, he vows to get them back when business improves. But a bigger threat is soon looming over the ranch.
Kaluuya’s performance as OJ is laconic, invoking pure Robert Mitchum. Did I like and root for OJ? Sort of. Keke Palmer as Emerald brought the energy to the screen, but I never felt the two characters really gelled with the themes successfully. Peele’s intellectual leaps, while thought-provoking, barriered an emotional connection within Nope (2022). Likewise, Yuen’s Jupe is given a tremendously imaginative and powerful backstory which brings us into his character, but ultimately fails to pay off dramatically. In fact, these scenes felt like they were from a different film altogether. Indeed, Peele uses the sci-fi monster genre to hang his view of the world on, not always to maximum impact.
While the characterisations and themes arguably fail to gel within the screenplay, it is visually where Nope (2022) really soars. Hoyte van Hoytema should sweep he board come awards time. Further, Peele creates an optical banquet by juxtaposing the majestic vistas of the Californian landscape with modern camera and surveillance equipment, plus those colourful inflatable dummies. Then there’s the thing that is “Not Of Planet Earth”. What is it and what does it represent? Who is watching and controlling and feeding on us? Peele’s challenging concepts are to be applauded within the genre blockbuster, but I just wanted to be scared and care a bit more. On additional viewings, Nope (2022), may be considered a masterpiece, but at the moment it could be one of those great films which I kind of didn’t like. As discussed previously here.