Jordan Peele's Nope is like the cosmically perfect stepchild of 'Get Out' and 'Us.' Here's our review.
is not the kind of movie to obscure what it’s “about” — that’s one of the most satisfying things about it. It’s a little like the M. Night Shyamalan classicin that way. That movie knew that we know the signs. It doesn’t build toward a climactic reveal of the UFOs at its center: It reveals them halfway through, in — what else? — video footage taken from on the ground, not unlike the kind that the Haywoods soon want to create.
Peele’s ingenious idea is to use that instinct against us. It’s more than a matter of unidentified flying objects. It’s a matter of lore, of violence — of horror, of course. Peele has rightly been noticed for his profusion of movie references, his almost scholarly, but in no way didactic or merely referential, skill at reminding us of the bedrocks of the genre.is another masterclass in this trend in his work — just look at his approach to the mere idea of the UFO.
Peele’s career as a director has been overly defined by the term “social thriller.” Less remarked-upon, but equally important, is his unabashed investment in symbolism, the kind of high-concept thinking that can push a movie along the axis of its ideas, distinct from its emotional logic or its genre satisfaction.
None of it would work without people. Palmer and Kaluuya could not be better. Palmer is down in every way, as stylish and unflappable as Samuel L. Jackson or Jada Pinkett Smith, with a taste for stoner mayhem and, when the movie calls for it, action-movie know-how. She’s who you’d want to be in a movie like this. But you’re not Keke Palmer — sorry.
Kaluuya, meanwhile, offers us something else. His OJ is a man of few words who seems sterner than he is, though not out of shyness. It takes a while to realize the archetype he’s drawing from here, one that belongs to another genre — the genre that the character Antlers Holst, played by Michael Wincott, with his Eastwood growl, ought to remind you of.
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