Jordan Peele Misses The Moon But Lands Among The Stars

Nope (2022)

_{Monkeypaw Productions/rated R/131 minutes}

_{Written and directed by Jordan Peele}

_{Produced by Jordan Peele and Ian Cooper}

_{Starring Daniel Kaluuya, Keke Palmer, Steven Yeun, Brandon Perea, Michael Wincott and Keith David}

_{Cinematography by Hoyte van Hoytema, edited by Nicholas Monsour with music by Michael Abels}

_{Opening theatrically on July 22 courtesy of Universal Pictures}

Nope is another example of the perils of mystery box marketing. The two theatrical trailers are sold as “You ain’t seen nothing yet” teases. The filmmaker is bemusingly cryptic when asked to describe the film beyond its already-revealed imagery. The actual theatrical film is pretty much what the previews have already revealed, with surprisingly little held back. Like Chris Nolan’s Interstellar and Brad Bird’s Tomorrowland, Jordan Peele’s Nope is “What you see is what you get.” Even casual observers of the film’s main theatrical trailer (the one that has been playing in theaters since February) will realize that they have seen much of what the film offers. That’s not the fault of the marketing (whose job it is to get asses in seats come hell or high water) and certainly not the movie’s fault. However, non-subtle subtexts aside, Nope is mostly “just” “Jordan Peele does aliens.”

Peele himself declared during the film’s big premiere that the film was at least partially rooted in the “bad miracle” in which we find ourselves. A certain of-the-moment mentality sets it apart from the deluge of pre-Covid or explicitly “apolitical” tentpoles we’ve seen over the last two years. However, the film, about two siblings (Daniel Kaluuya and Keke Palmer) who try and capture footage of an apparent UFO invasion, is less about “Covid” in a generic sense than the impact borne by the entertainment industry. Nope cost $69 million, almost triple what Us cost, is partially shot on IMAX and arguably wants to be Peele’s Gravity-like declaration of theatrical worthiness. Concurrently, Nope tells a, uh, non-subtle tale of the human toll borne by those who make our bread-and-circuses distractions. It aligns with Peele’s current motif of detailing the grim consequences paid by some of us to allow the rest of us to live comfortably.

The other running theme in Peele’s work thus far, both in terms of his directorial features and films and shows he helped produce like Nia DaCosta’s Candyman and Misha Green’s Lovecraft County, is in placing Black actors in conventionally iconographic circumstances. Based on Matt Ruff’s book, Lovecraft County was partially a catalog of horror genres (haunted house, religious peril, supernatural fantasy, etc.) dominated by white artists and giving actors like Jonathan Majors and Aunjanue Ellis their moment in the spotlight. Likewise, this is a big-budget alien invasion thriller starring Daniel Kaluuya, and Keke Palmer, complete with IMAX-worthy spectacle and (not unlike, otherwise apples or oranges, Spike Lee’s Da 5 Bloods) at least a few examples of Black actors reclaiming Hollywood iconography. If the film doesn’t quite hit the highs of Peele’s earlier two films, it’s because there is more of an emphasis on the spectacle and subtext than the present-tense narrative.

If you saw the second trailer, you might be surprised to learn what’s being sold as set-up (two siblings who run a farm that supplies horses for films and television stumble upon an alien invasion and try to get the million-dollar footage) is the whole movie. But, again, that’s not a criticism of expectations versus reality. Still, it is an acknowledgment of the film’s drawn-out pacing issues, which leads to redundant and repetitive events and a comparatively (even compared to Us) claustrophobic narrative. The picture gets off to a furious start, with a horrific curtain raiser and the shocking death of the family patriarch. I’ll assume Keith David got that “and” credit as a token of earned respect. It then takes its time in the first act setting up the awkward new normal of two siblings who love each other but don’t necessarily like each other suddenly being forced to take over the family business.

Michael Wincott (a ridiculously underused character actor playing a grouchy documentary filmmaker) is relishing arguably his first high-profile significant studio film role in 20 years. Steven Yeun offers a subtle portrait of a guy traumatized by the industry in which he now works, while Brandon Perea offers suitable and winning comic relief. Our protagonists have different desires and goals, and the picture subtly provides evidence of their deep-seated affection until the subtly moving climactic payoff. However, as a horror film, a genre exercise and a period-specific homage (it’s closer to Peele’s Super 8 than Peele’s Signs), it only works in fits and starts. There seems to be a certain visceral restraint. Perhaps Peele was trying not to overwhelm the audience with suffering. Maybe he was trying to win a PG-13. Either way, (an exception or two aside), it works against the circumstances. A few surprises notwithstanding, Nope wears out its welcome before the admittedly winning/satisfying finale.

Nope mostly delivers in terms of big-screen spectacle, visual oomph, creative sound mixes and overdue iconography. In this streaming/VOD era, that counts for more than it might have a decade ago. Likewise, the “big budget original feature” factor works both ways. I might have been less willing to forgive its trespasses in a more theatrically friendly era. I also might not have been so bummed by what doesn’t work in a less do-or-die moment. In the end, warts and all, the thumb tilts up, and the tomato will be red. Nope is worth seeing at least once for what it offers and because it’s an ambitious swing from a singular filmmaker who has earned a mulligan or two. Is it as good as Us and Get Out? Nope. Will I give it at least as much leeway as I give M. Night Shyamalan for oddities like Old and (in retrospect) The Happening? Yup.