In the final act of “Nope,” Jordan Peele “summons all his moviemaking strengths and delivers a proper climax: thunderous, thrilling, trippy, and borderline nuts,” Anthony Lane writes.
A chimp with blood on its hands. A man with a nickel lodged inside his brain. A horse with a key stuck in its flank. These are the unusual sights with which the new Jordan Peele movie, “Nope,” gets under way. All three details are upsetting, and none of them, as yet, can be explained. Peele just deals them out for us, with speed and confidence, as if to demonstrate that the world around us, in case we had any doubt, is way out of whack.
There’s no roundabout way of saying this, and the trailer has fed us plenty of advance information, so here goes: “Nope” is about a flying saucer. Which is frustrating news for those of us whofancy watching a film about the only Black-owned horse-training outfit in Hollywood. But Peele is busy dishing up the saucer—an old-school model, with a touch of the funky Frisbee, possibly descended from the spaceship that landed in “The Day the Earth Stood Still” .
What on Earth, and in the starry heavens beyond, is going on here? I’d have to catch the film again in order to unpick the careful stitching of its themes, but my guess, for now, is that the saucer’s real mission is to prove that the very possibility of a cowboy no longer exists—to ingest an old and exhausted American narrative and spew it back out. When O.J. is confronted by scary nocturnal intruders, in his stables, does he pull a gun on them? No, he whips out his cell phone and films them.
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