Nope Review - A New Style Of Summer Blockbuster
Reviewing Nope is a strange experience. There are certainly flaws with reviews in a vacuum - inability to address popular complaints or concerns, falsely believing you are being entirely creative by writing ‘Nope gets a big Yep’ - but they also offer a greater sense of impartiality and criticism without influence. With Nope currently in the public zeitgeist in the US, half of reviewing it has involved avoiding the conversation around it. After finally getting my eyes on it, all I have to say is Nope gets a big Yep from me.
To call it Jordan Peele’s Nope is to do more than merely inform you of the director. While this is only Peele’s third feature, his name has become evocative of a style of biting satire, social commentary, and an unsettling intensity. Peele’s name has quickly become less of a noun and more of an adjective. With Nope, it feels like he is acutely aware of what people think Jordan Peele means (and does not mean), and wants to challenge those preconceptions.
Related: Nope's UFO Story Works Because It Isn't About Saving The World
Both Get Out and Us are atypical horror movies, but Nope is not a horror movie at all. Yet at the same time, it features the single-most terrifying and disturbing scene of Peele’s work to date. This is typical of what Nope does to Peele’s canon. It’s both his most simple and most complex movie. It lacks the focused driving plot of his other work, and at times even drifts into aimlessness, but it also forces you to think a little bit harder.
Get Out and Us feel like they have a ‘correct’ reading. Nope is more open to interpretation, but that takes away some of the sting. Get Out pushes itself in your face until you can feel its breath, while Nope lingers as a shadow down the alley.
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