[7.9/10] *Nope* is a film of tremendous spectacle. Writer/director/producer Jordan Peele has not lost the slightest of steps in crafting evocative sequences with his team. He elicits tension as heroes and bystanders alike flee the giant specter lurking through the sky, ready to suck them up. He captures the balletic grace of a ribbony jellyfish creature floating through the clouds and gobbling up what it finds. He gets the heart pumping as his new age cowboy races through the western skyline, dust whipping in his wake, as the creature sharply pursues. To see it on the big screen is to be awed by it.

But at the same time, it is a film about that spectacle, the lengths filmmakers go to capture it, profit from it, take credit for it. It’s hard to know how to take that. There’s a recursive quality to the film, a movie rife with impossible images about the cost and peril, moral and otherwise, about committing those images to film. At the very least, it speaks to one of Peele’s recurring narrative motifs, those overlooked or underappreciated, who nonetheless contribute to that which is beautiful and even transcendent, even as they’re appropriated or forgotten.

Here, he extends that franchise to the animals made to perform for Hollywood productions. From Gordy, the sitcom chimp who goes on a rampage, to the horses on the Haywood family ranch loaned out for television and film, to Jean Jacket, the living UFO who feeds on whatever flesh he finds in the great loping west, *Nope* is suffused with an inherent respect and fear for the wild animals made to perform for our amusement.

The subtext of the story suggests that these animals should not be treated as just another prop, but rather respected and treated like the fellow souls they are. They possess a power, one that requires us to meet them on their level to be able to forge a working relationship with them, lest we be subject to the parts of them that remain wild, the parts we cannot control, no matter how much we think we have them cowed.

The themes, as always, are potent. *Nope* lingers in the mind and the heart, in its reflections on the creatures made to perform, the urge to wrangle such heart-stopping images, and those who are disregarded and overlooked in both efforts. But the film’s characters are some of Peele’s most inaccessible. Their decisions are often strange, their reactions stranger. Their motivations vary, but often come down to the need for wealth or fame or both. They are some of the director’s most colorful figures, but in a way that can obscure the sense of an inner life beyond the ideas and motifs they signify. It makes the movie a hard one to warm to at times, with the players more sketched than defined.

And yet, in those quieter undefined spaces, Daniel Kaluuya shines once again. It’s hard to discern whether his character -- O.J. Haywood, the inheritor of his father’s Hollywood horse ranch -- is meant to be neurodivergent or simply the archetypal strong silent type. Regardless, he is a man of few words, and Kaluuya makes a meal out of the meaningful looks and body language that convey his bearing and demeanor despite that.

He is reserved, if not outright shy, full of determination, if only to carry on the barrier-breaking legacy his father built, and he is made of steely, steady, stuff. Those qualities make him someone who understands animals better than people, and combine to make him the perfect soul to respect, comprehend, and even commune with this being from the beyond.

Peele and cinematographer Hoyte van Hoytema also understand how to shoot him. *Nope* is filled with any number of eerie, low-light scenes where OJ, his more extraverted sister Em, and their handful of neighbors and allies investigated the strangeness hovering above their doorstep. Peele and his collaborators still know how to evoke a sense of dread in these moments, with obscured visions, suggestions of something ominous, and blank spaces for the viewers to fill in with god knows what.

But there’s also great attention to the detail in the lighting, bringing out Kaluuya’s complexion and definition even in darkness, highlighting his expressive eyes, that allows his performance to take center stage even amid the building horror and eerie tone. There’s an interiority to O.J. in particular, and sharp choices in lighting and composition help draw it out to the audience’s wavelength.

Peele and company also do well to set up rules for Jean Jacket that both speak to the movie’s themes while creating practical challenges for the main characters to overcome. The flying beast deadens anything electrical in its wake, something that stops vehicles in their tracks, permits the sound team to chill the audience with waning audio, and makes filming it that much more challenging. The alien creature can only consume organic matter, with rains of discarded metal and other leavings that make it sick creating both a practical danger and frightening imagery. And as with the horses the Haywood family trains, it is provoked through making eye-contact with it as it roams the skies above, turning the horror flick into a reverse “the floor is lava” game of staying shielded from view. These qualities are cinematic, while also creating pragmatic challenges that the main players must be clever and determined to overcome.

In that, the movie’s creative team crafts some of the stunning horror that already defines Peele’s budding filmography. The title drop comes when O.J. witnesses the magnitude and power of this cloud-hopping behemoth, “nopes out” of doing anything to get in its way, as the same imposing figure prompts the audience to do the same. It’s a film as steeped in feelings as it is in thoughts, and the sense of abject terror as something that cannot be controlled, or tamed, only accommodated, imposes its will on those brave or foolhardy enough to try to use it for notoriety, riches, or entertainment.

*Nope* uses it for those ends too. It’s hard to tell whether the filmmakers want us to feel complicit in this, to speak out against animal cruelty in Holywood, to recognize the below-the-line workers who make the impossible into the real, or simply to experience the same terror and triumph its players do. But in this alternating languid and exhilarating movie, the spectacle, and the awe, overwhelm, as Peele conveys his signature incredible images, through his characters striving to do the same.