#YEP REVIEW MOVIE#

The Farrellys - whose careers just might have peaked with the raunchy, rude yet romantic “There’s Something About Mary” in 1998 - hurl miss-or-hit sight gags and throwaway lines at us, mostly in the vein of Harry’s comment while looking through 20 years’ worth of mail his parents have saved for him: “Oh, I got into Arizona State!” So the fiftysomething “10-year-olds” make a road trip to Maryland and then to El Paso, in search of the dopey bombshell (Rachel Melvin) who might be his daughter and, therefore, the “genital donor match” he needs. While it doesn’t reach the same heights as Get Out, there is still something thrilling about seeing where Peele’s mind will take the audience next.Then they’re off - doubling up on a Schwinn to bike to the home of Harry’s estranged Asian parents, and later to look up the bloated floozy (Kathleen Turner) who supposedly gave birth to Harry’s baby and put her up for adoption decades ago. Nope is larger in scale than Peele’s previous films and he feels very in command of what he wants to create.

#YEP REVIEW MOVIE#

Michael Abels’ score is lively and (thankfully) does not follow the recent trend of minimalist scores almost a mix of the style of 80s Spielberg movie epics and underlying modern discordant sounds. Kalyuua plays the stoic, cowboy-type and Palmer his chaotic foil.

That being said, Palmer and Kaluuya are a dynamic duo throughout the entirety of the film.

Peele has created so many rich storylines that a few of them disappear without feeling like they had an ending. The spectacle begins to wear thin and some of Peele’s grand ideas unravel their connection to the greater purpose. Ultimately, Nope stretches itself to too long of a runtime. Not for the sake of remembering and learning, but to gawk. Real people are distorted into characters and fundamentally life-altering events are memorialized. So much so that we reproduce them at every possible chance which creates a disconnect in our ability to understand tragedy. Society has an obsession with these seemingly unthinkable stories (not limited to true crime). It feels poignant given the abundance of true crime documentaries and dramatizations that exist in pop culture. In creating a spectacle of his own to get this point across, Peele has now put the audience under scrutiny. There are consequences for these characters choosing to exploit tragedies and living animals for their own gain within the movie. Events that one character sees as bad, another morphs it into a “miracle.” It all depends on their definition, but they also must reap what they sow. The movie would not progress were it not for characters choosing money, notoriety, and pleasure over morality. The idea of what constitutes a spectacle and how those involved are treated is perhaps the largest concept at work. There are many hidden themes within Nope, as one has come to expect from Peele. The production design of the aliens that lurk in the clouds, the sparkled suit of Jupe, and the entirety of Jupiter’s amusement park all come alive, especially in IMAX. Visually, there’s nothing like a Peele film. In critiquing the idea of what makes a spectacle, Peele has created an awe-inspiring exhibition of his own.

Nahum 3:6 says, “I will cast abominable filth upon you, Make you vile, And make you a spectacle.” Over the course of the two hour film, that’s exactly what Peele does.

Writer, director, and producer Jordan Peele opens the film with a Bible verse that is not very well-known. With the help of Angel ( Brandon Perea), a Fry’s Electronics employee, the siblings set up cameras to catch the UFO in action. Em is certain that if they get what she calls, “The Oprah Shot,” their financial woes will be long gone. The siblings have noticed something resembling a UFO darting through the clouds above their ranch. An answer to OJ and Em’s money trouble comes to them from an unlikely place: the clouds.

Yep review