Nope

One could easily give in to the temptation to declare Peele the new Tarantino in an attempt to elevate him as one of the most distinctive and unique talents of the contemporary American overground. Except the fundamental difference between the two filmmakers is that Tarantino is a self-regarding nerd who adores the mythology of cinema and fictional heroes, whereas Peele turns to reality, as he is not only a cinephile, but also a creator who reflects on society and the bizarre paradoxes of its apparatuses and status quo. Therefore, his films are not merely sophisticatedly enthusiastic games played with film formulas and eclectic monuments to fringe movies and filmmakers, but biting satires and multi-layered works that can be simultaneously entertaining and chilling. Peele’s third feature-length project is fascinating as a uniquely unpredictable narrative that builds a stunning monument to cinema and its pioneers on a foundation of mystery and contact with something alien. In his equivalent of Once Upon a Time in Hollywood, Peele doesn’t go the way of Tarantino’s illusory fiction and enchanted, adoring pathos, but creates a film that consciously works with paradoxes and contradictions. Nope is thus both a sci-fi movie and a western dealing with the bitterness of the entertainment industry, which catches itself in its own trap as it grooms viewers who demand ever newer and more spectacular attractions. It thus seems inevitable that this changing industry should leave its old strivers and pioneers in the dust. Peele pays homage to the obsession with the perfect shot, but he paradoxically does so with the background of a time when that perfection is already artificial and created without risk thanks to computer-generated effects and digital post-production. What is most surprising about Nope is that, though it deals with old Hollywood and its magic and pathos, it does not address tearful old men, but conveys that ethos to the younger generation weaned on YouTube and hanging around on social networks every day. (15/09/2022)

An amazing atmosphere and so many original ideas... I'm glad that they still make (and get into cinemas) films like this that are probably impossible to fully understand at first, but which have such charm that you want to watch them again and only fully understand them afterwards. Original plot, realistic story, great (and well acted) characters, a sense of constant mystery… It's not horror, because then Close Encounters of the Third Kind, which Peele combines with Jaws, Signs and more, would have to be horror. I haven't seen a more original design of an alien "something" since Arrival, a number of scenes are without exaggeration unforgettable and I look forward to seeing them again. I think Nope is in many ways on par with Christopher Nolan's films, and if Nolan or Dennis Villeneuve had made it instead of Peele, the ratings here would be quite different. (03/09/2022)

Playful, but without balls and a proper climax. Peele again pretends to amass all the wit in the world for a thrilling finale, but in sum, he just patiently teases and misses the mark. There were a lot of suggestions and I appreciate especially the reference to the history of motion picture and its representative or media function, but I enjoyed the more mysterious and yet more down-to-earth Signs much more. (08/12/2022)

Best UFO movie in decade? Nope. Actually god damn YES! Jordan Peele is back and will once again divide audiences into two camps, though this time he'll get a bigger ovation than he did with the overrated Us thanks to the awesome material. Peele is a bit unconventional here, the social undertones aren’t as intense as in his previous films, there is a fair amount of humour and there are considerably fewer symbols and metaphors, yet he's made a unique and impressive genre film that again isn't as horror as it could have been, but I'm very pleased. Nope is definitely a horror film that manages to win the audience over with its strong cinematic aspects, and it looks really beautiful, especially in IMAX. The cinematography by Hoytema is a masterpiece in itself, some of the shots are breathtaking (and that's not something you see often in the horror genre), and the casting is great. Kaluuya is good, but next to Keke Palmer he seemed slightly like a shadow, because here she gives perhaps the strongest female performance in 15 years (emotions, screaming, speech, voice), an absolute acting tour-de-force from an unknown actress, whom I immediately want to see somewhere else. The music is well chosen and especially the atmosphere works fantastically, it's very uncomfortable, creepy, weird and unnerving in places. There are quite a few exciting and spectacular horror scenes that I will remember in the future (The chimp, a house covered in blood, a horse's head in a car, the digestive process of the villain and the screaming of the dead still ring in my ears). I'm perhaps only the final act away from a full score, which ironically is weaker than the previous ones (most people complain about the action-packed finale, but I wouldn't call it so, you can immediately imagine a spectacular Secret War style alien massacre and it doesn't really happen). I just wasn't sure if I liked the final scene or not, but you can't deny the creativity. Peele will definitely be making horror films in the future and I'd quite like to see a slasher or pure ghost story from him. Better than Arrival for me. Story 4/5 Humour 2/5 Violence 3/5 Fun 4/5 Music 4/5 Visuals 5/5 Atmosphere 4/5 Suspense 4/5 Emotion 4/5 Actors 5/5 Total: 8/10. (22/08/2022)

Excellent in terms of Peele's creative limits, and in terms of the current creative limits of the contemporary mainstream it’s one of the films of the year. Anyway, who am I kidding, the movie itself is divine. If, like me, you're lucky enough to have seen the film as a complete "tabula rasa", you're in for a magical hour and a half of gradually unraveling mysteries in Hollywood Hills, during which various scripted red herrings and plot contrivances scramble around you, hilariously referencing the magical idiocy of 1990s American TV that Tarantino, for example, was so fond of talking about. After all, after his last film, I think Peele is much closer to him than to the oft-cited Hitchcock. It works as a genre piece, but with even a minimum of knowledge of American pop culture it starts to become apparent how insanely great the whole film is. The charm of big horse eyes, Harambe, the haunted aura of Hollywood ranches, cameramen measuring guns, Wincott pulled out of somewhere by his collar, a soundtrack that steals from both Morricone and Badalamenti, and a cloud that doesn't move for six months without anyone noticing. And Hoytema behind the camera. Yep. (22/08/2022)