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Director/writer Jordan Peele’s imaginative fecundity exponentially expands with each titillating, fascinating film; “Nope” casts its realistically horrifying premise from the onset; strange objects fly from the sky, lethally hitting “Otis Haywood” (philosophically prescient, Keith David) the owner of “Haywood Hollywood Horses”, leaving his son “OJ” (a Peele favorite, Daniel Kaluuya) to carry on the franchise; sister “Emerald” (Keke Palmer is monumental in the role, securing the mass of the dialogue) deciding to record the strange phenomena, eliciting techy “Angel” (impeccably nerdy Brandon Perea) in the goal of reaching Oprah Level notoriety and the pinnacle of financial triumph. Hence human wits, matching the UFO’ s agenda. It is a magnificent, spellbinding game and no one could orchestrate it better than Peele; composer Michael Abels gifts the film a soundtrack that in tandem with cinematographer Hoyte van Hoytema cements one’s concentration for its entirety; mesmerizing, compellingly, provocatively stunning, grasping the core of what makes a “horror” film, the essence of reality; clutching and exacerbating sentiments reverberating in fertile minds, terrified, haunted by the possibility of its occurrence.

Throbbing with intelligence, Peele commences with a reference to Eadweard Muybridge (1830-1904) an English photographer, inventor of high-speed, stop-motion photography earning him the “father of motion pictures” sobriquet. 

The test of a great film is how long it resonates after its viewing, “Nope” days later, is still reverberating, haunting my waking and sleeping moments.



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