Of the different types of movies, the one that’s going to get the most people into the theater is some sort of spectacle. Think of the most popular and technologically influential movies of all time — “King Kong,” “The Wizard of Oz,” “2001: A Space Odyssey,” to name a few — and they’re all about showing audiences something amazing that works best on the big screen.
The undeniable king of the spectacle for decades was Steven Spielberg with “Jaws,” “Close Encounters,” “Raiders of the Lost Ark” and “E.T.” setting up the 1970s and ’80s as the perfect summer blockbusters full of wonder and adventure … as well as a little bit of horror.
So it’s no surprise that “Nope,” the newest film by Jordan Peele, is not only a celebration of those types of movies by Spielberg but a reexamination of why the masses love the spectacle, even at a cost. There’s an interesting balance between awe and terror in spectacular things, which is just what Peele captures in his biggest film yet.
After his breakout “Get Out” in 2017 and “Us” in 2019, which budgets of $4.5 million and $20 million, respectively, Peele got the opportunity to helm a $68 million production and take a shot at his own ’70s and ’80s action/adventure with a horror twist. With all the hype around it, it was near-impossible to live up to those expectations, but “Nope” has a lot to say in a lot of genres, but mostly sticks the landing as a genuine spectacle.
The Haywood Ranch is one of the best horse training families in Hollywood, but after random objects falling from the sky result in the death of their father, siblings OJ (played by Daniel Kaluuya) and Emerald Haywood (Keke Palmer) must continue their family legacy.
Still confused by the bizarre event, and while noticing strange things happening in the valley — as well as at their neighbor’s (Steven Yeun) wild west theme park — OJ believes aliens are behind it when he thinks he sees a UFO hiding in the clouds.
Attempting to capture video evidence of the UFO with the help of tech salesman Angel Torres (Brandon Perea) and cinematographer/editor Antlers Holst (Michael Wincott), the Haywoods soon realize they are out of their depth as some miracles aren’t meant to be good.
There is a lot to unpack with “Nope,” but as far as the filmmaking goes, Peele once again proves he’s as good at the big, grandiose scenes that would make John Ford cry as he is with the close, personal moments between actors. As shown in his previous films, every shot and scene is done with purpose, so even when the story seems to meander or sequences are too slow, it’s all for a reason that adds layers and depth to the story without spelling everything out.
A number of themes and messages present themselves throughout the film, but none are ever so overt or in your face to overshadow the other. From the cycle of trauma and the exploitation of “spectacle” for entertainment to the treatment of animals and the environment for show business, much of it relates back to what humans consume. With the 24-hour news cycle showing constant wars, ecological disasters, violence in the streets and more, would aliens actually coming to abduct us be that impactful anymore, or just another spectacle to exploit?
While people have come to Peele in the past for two things, jokes and scares, “Nope” is neither as frightening or funny as his previous works. While there is definitely plenty of humor and tension throughout, this film is a thrill ride and adventure and it’s nice to see Peele go in a new direction, paying homage to everything from classic westerns to Japanese anime.
As nice as a flashy big-budget spectacle might be with huge western vistas and flying saucers, the best special effect is once again the actors. Kaluuya and Palmer are not giving predictable performances here, jelling neither with each other or the tone, but with their father’s tragic death, the possibility of losing their home and being terrorized by a UFO, they’re not in a happy place. Their subtle choices in quick wit and deep sadness throughout make “Nope” more than just a spectacle worth seeing on the big screen but a study of the human condition when pushed to its limit.
