This is a tricky one to judge. Jordan Peele’s third writing/directorial effort, Nope (2022), is a highly creative and original concept that delves into the science fiction alien field. . . but is missing something to make it a truly effective effort.
With its critics likely pointing to its title as an apt description, the word in fact references character reactions to some sort of alien craft seen in the sky. Though it still might have people pondering whether it means something else – perhaps, ‘Not of Planet Earth’, ‘Newly Ordained People Eaters’, or ‘Never Offer Predators Equines’. Set on a vast horse ranch in rural California, the Haywood family have been providing horses for Hollywood productions since day one (a cool reference back to the original moving picture – a galloping horse ridden by an African American jockey created by Eadweard Muybridge).
After their father, Otis Sr. (Keith David), passes away in what is ruled a freak accident (supposedly a private plane dumped some garbage out at altitude, which then plummeted to Earth like a smattering of wartime gunfire), the running of the ranch falls into the laps of his rather shy and lackluster son, OJ (Daniel Kaluuya), and his overly charismatic daughter Emerald (Keke Palmer). . . the former completely entrenched in keeping the family business alive for another generation, while the latter is more focused on promoting herself and her hopeful future ventures in acting, catering, or anything else that isn’t her current line of employment.
Soon, a bizarre craft is seen in the sky by OJ (and later, Emerald). . . looking a bit like the bottom and brim of a Stygian cowboy hat, it is like nothing he’s witnessed before (nor we as an audience have either). Hoping to capture it with high quality video cameras, the siblings rush out to an electronics store to load up on the most modern technology (spending the last little bit of money they have). . . hoping that they can get, as they call it, an “Oprah” worthy shot of what they deem to be an alien UFO. Soon, the techie who set everything up from the shop, Angel Torres (Brandon Perea), is hanging around, a conspiracy theory fanatic who believes they might actually have something legitimate hiding in their skies.
It is also worth noting that there is a side story about their next door neighbour, Ricky ‘Jupe’ Park (Steven Yeun), a former child star (that experienced quite the tragedy on set) who now runs a nineteenth century inspired western roadside theme park. Not only is he still trying to capitalize off of his previous infamy (he has amassed quite the collection of macabre set pieces), but also sees dollar signs coming from these otherworldly sightings in the sky.
A story that revolves around the themes of the human drive to make money by exploiting nature, past tragedies, or any number of things to make a buck (hence, why there is a character from TMZ in the picture), it also reminds us that no matter how in control we believe we are as ‘the superior species’, wild animals can always become unpredictable predators. In both of the above mentioned topics, fears of danger gets pushed to the background when the ability to gain fame and wealth are presented as a possibility with some risk. It all links to our desire to see a spectacle (danger comes in this movie every time someone attempts to capture a spectacle on camera). Consider it a warning or a blessing to go for it, depending on your own perspective.
A truly novel concept (that in some ways pays homage to Close Encounters of the Third Kind, though in a warped, twisted way), it just never fully takes off. A slow burner, its pacing does build, but never truly unnerves. There are moments – like an out of control chimpanzee that looks directly at you through the screen, and a barn whose lights keep turning back on, or a torrential downpour that might be something much more sinister, but these moments are too few and far between to sustain the tension. The ending will likely also leave some a tad underwhelmed. . . though it does pay homage to the western in a rather cool way.
Adding something unique to the sci-fi genre, Nope is worth a watch, despite its flaws. Its concept, sound design, and visuals (cinematography by the great Hoyte Van Hoytema – think of Christopher Nolan’s previous three films for examples) are absolutely spectacular, all providing a truly impressive cinematic experience, despite some of its narrative shortcomings. And, after pondering it for awhile, I’m starting to wonder whether the title actually stands for, ‘Never Oprah Photo Extraterrestrials’. So, say Yep and take a chance on this flawed if intriguing film, it’s ‘No Ordinary Picture Exhibition’.