Rocketing through with another horror piece that shows slick style and comfortably obvious commentaries on the world around him, Jordan Peele marks yet another horror feature. Each and every criticism, presentation and reach made throughout Nope requires heavy lifting from the viewer to make it into the cultural mainstream. What an audience member can ascertain from one scene or another, from Gordy in the bloodied studio to the commercialisation of grief, feels dethatched from any heart or true interest on behalf of Peele. They feel commented on because they are popular moments, and the film around them explores little more than the styling choices Peele is cultivating. Thankfully, those stylish pointers are of some interest, it is just a shame his story isn’t.
Lots said for a film with little dialogue in those most important moments. That is a strong quality Peele has, the ability to feel the mood of a scene and develop a message without much audio. Much of the commentary feels defunct though when the climax of the feature turns into an odd sci-fi caper about dispatching an alien with flashes of light and an inflatable doll. It is not the premise that unravels Nope, but the meaning of it and whatever Peele is attempting to imply or inflict comes across as muddled and ill-considered. At least the parts around that fundamental are enjoyable. Daniel Kaluuya is never a poor draw, elevating weak material to the next level appears to be his forte. A brief back-and-forth with Keith David in the opening moments is wasted, a mere cameo for the latter to make some emotional impact on the story at hand.
All the elements for Nope to work with are there, but Peele has no restraint when it comes to calling time on what needs adding and where to place it. Steven Yeun’s role as the man cashing in on the trauma of his time in the spotlight feels like a muddled comment on something or other, again marked by a solid performance from the man tasked with representing it. Keke Palmer finds herself with a handful of solid moments too, but it is Kaluuya that brings out the best in all these moments. It all comes down to the placement and choreography that comes through, the close encounters are more exciting than the big showdown, but whatever they mean and whatever Peele can manage with them are, at best, confusing.
That confusion leads to Nope being a confused piece too. An interesting piece, absolutely, but very cluttered and dwindling. Peele’s branch of horror relies on that, and it is clear to see why there is love for it. Few directors are being given the big-budget chance to make these stories, and many of the alternatives are Eddie Marsan-starring dystopian movies slated for the Netflix schedule. Nope is certainly in a league of its own, but a pairing of overhype and messy storytelling drag it down. No matter how great a performance is, nothing can save the clutter on this one. Nope is an odd one. Peele’s talents behind the camera are obvious, he has the flair and necessary control of visual appeal nailed down. It is his lack of commitment elsewhere that harms Nope, an alien encounter story that finds itself overblown with a grave amount of sub-sub-plots that just fail to come together.
