Nope 4K 2022 IMAX Ultra HD 2160p

Story Movie

Six months after his father's death in a ridiculous accident, brother and sister, Ojai and Emerald, are trying to keep the family business - a ranch with horses for movie and commercial shoots - afloat. Things are going from bad to worse, some of the animals have had to be sold, and Ojai is already thinking of getting rid of the ranch, when suddenly he notices a UFO in the vicinity. The guys see it as a money-making opportunity and decide to film it at all costs.

Review 4K Movie

In his day Jordan Peele burst onto the big movie scene with his social horror film Away, grabbing an Oscar nomination for screenplay along the way. The work was solidly shot, well directed, and most importantly, thoughtful. I remember that I watched it four times for joy, looking for new passages that I might have missed the first time I saw it. The second work did not keep me waiting long, and Peele, who by this point has won the laurels of a horror-maker and received credit from the audience, released "We". The film came out not bad, but much weaker than its first-born. Yes, the box office was packed, the critics were ecstatic, but you couldn't help but notice the plot holes and the over-the-top number of references, which by the end just started to get annoying. Apparently, Jordan also felt he was overdoing it and went into production. I have to say that he is a terrible producer: the remake of Candyman, which, with its storylines, shattered my childhood, is worth mentioning. But Peele is not a stupid guy, so he returned to the director's chair and had his third baby, "No". After the excellent "Away" and the weak "Us" the chances of success were fifty-fifty, and therefore I had only three expectations from the new work: cool actors (which is noted in the previous films), omens/references (as long as not too much) and social. So, let's dissect "No" on these three points.

Let's start with the cast. "Away" gave us Daniel Kaluya, "Us" hit us over the head with Lupita Nyong'o's phenomenal performance. But the cast in "No" is... like the strudel from "Inglourious Basterds," quite bearable. Kaluya, who was called back into the lead role, for his enormous acting range, gave off 20 percent of his possible power. Clearly, his character is no badass Walker, but the walking-wandering with a sourly pensive face involuntarily turned on the hit "Ride it" in my head. Steven Yeun, for whose Hollywood career I'm genuinely happy for, seems a kind of vestige at all, faceless and bland. That's why all the burden of acting is carried on her shoulders by a black woman. I don't agree with the Western critics who call Keke Palmer's acting phenomenal, but it's a fact that the girl really stands out compared to her celebrated colleagues. She perfectly shows every facet of her character: sometimes pissing through the screen, sometimes eliciting a note of sympathy, more often, an involuntary chuckle.

Thank Neptune, this time Peele didn't go overboard with references and throw us both an omens to Voorhees and a clothing store, as he did in a previous film. On this point the script came out balanced, but there is a nuance. Apparently, Jordan decided that the audience had gotten a little dumb during the Covid epic, so he decided to rub our noses in some of the references himself. Yeah, Joe, let's mention the character's name more often, we didn't get it right away. And yes, give us the meaning of the name again, we don't know it. You could also do a running commentary on it. Anyway, Peele was a little too drunk again and failed to grasp the line between a cool homage and a reference for the sake of a reference.

And now to the main point, i.e. genre and idea. Peel shoots social horror, and this time again he did his job to the highest possible standard. "No" looks confusing and non-obvious in terms of presenting the main idea, but Jordan deftly scatters clues in seemingly unimportant conversations. Once again, he frightens not with trite scares and paranormal stuff, but with revelations and thoughts that come to the viewer's mind as the narrative progresses. The finale is the zeitgeist of "No," which sets the record straight. Perhaps only the scene with the motorcyclist and his resounding scream is more adroit and organic than the last five minutes of the movie.

Bottom line: the work is not without sin. Unbalanced and boring in places, "No" is worse than "Away", but definitely better than the second brainchild of Jigsaw. It's interesting and fun to watch, and fun to ponder what's going on. A bonus is the beautiful scenery and horses.