Joran Peele’s new horror opus, NOPE delivers. The film meets every expectation set by the filmmaker’s powerful, albeit small, repertoire. It features likable relatable characters. It is socially conscious. It brings the fantastic to the real world in disturbing new ways. Yet this time, the auteur decides to pull focus on a few strange tangents that ultimately rob NOPE of the “epic” scope it is reaching for. The joy in any film is in the discovery though. I will stay away from any major revelations or plot points., but if you are even slightly sensitive to spoilers, stop after this paragraph. Suffice it to say that NOPE is on par with Get Out and Us but it charts a new path that didn’t fully resonate with this critic. It is good though.

After the tragic death of their father, OJ (Daniel Kaluuya) and Emerald Haywood (Keke Palmer) take the helm of the family business in supplying horses to the film industry. OJ is the quiet, methodical type whereas Emerald is clearly the younger, free-spirited of the two. The family ranch is situated in a rural valley of California. Their nearest neighbor is a micro-local theme park a few miles away that is run by former child star Ricky “Jupe” Park (Steven Yeun) and his wife Amber (Wrenn Schmidt). The two siblings return home to piece assets and legacy and, while doing so, they begin to experience the uncanny. Clouds seem to hang in the sky. Their horses are spooked at the mere change of wind. Then OJ sees something among the clouds late at night. Now here is where Peele takes things in an odd direction. This mysterious sighting prompts AJ and Emerald to set up cameras with the help of an electronics associate and alien conspiracy theorist Angel (Brandon Perea). The idea is that if OJ, Emerald, and AJ can capture photographic evidence of a UFO then they will be filthy rich.

UFO’s come with their own set of problems though. To begin with they are stealth. They also shut down any electronics when they are in the area, making electronic recording nearly impossible. What’s worse, is that they tend to abduct other beings. With little thought given to fleeing for safety OJ, Emerald, and Angel turn the expansive ranch home into a hive of alien documentation. They even reach out to a gruff cinematographer named Antlers (Michael Wincott) in hopes of capturing the perfect footage of their UFO. Will they get the money shot? Will the band of documentarians die in the process?

NOPE is glorious to look at. Hoyte Van Hoytema’s cinematography borders on Deakins territory with clean expansive shots of rolling hills and stark composition. There are also some great night shots that are expertly captured. Johnnie Burn’s sound design is remarkable in creating a sense of identity for the hovering threat with whispy screams floating in the air or the heartpounding mechanical noises that herald a presence.

Then there are the performances. Kaluuya isn’t given as much to work with this time around as the quiet hero. He is a nice counterpointe though to Palmer‘s Emerald who steals every single scene that she is in and who delivers the film’s funniest lines. Yeun‘s Jupe is great, but I really would have wanted to understand a few more of his strange choices considering what the character has been through.

Nope is a fine Sci-fi thriller mystery that continues Peele’s streak as one of the best filmmakers working today. He explores themes of representation, exploitation, and trauma with an expert symmetry that is a marvel to take in. Here though, Peele makes some strange choices that are a bit of an ask. Some of the characters make odd decisions that only serve to support the message Peele is trying to make and it doesn’t always hold up. Who cares though. Peele packs more craftsmanship and film knowledge into a single second of his movies than many filmmakers do in an entire feature. It might not be what you are expecting, but it’s worth the watch.

7 Out of 10