Watch: Nope 2022 123movies, Full Movie Online – The residents of a lonely gulch in inland California bear witness to an uncanny and chilling discovery..
Plot: Residents in a lonely gulch of inland California bear witness to an uncanny, chilling discovery.
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|6.9/10 Votes: 154,809|
|82% | RottenTomatoes|
|77/100 | MetaCritic|
|N/A Votes: 2159 Popularity: 125.88 | TMDB|
FULL SPOILER-FREE REVIEW @ https://www.msbreviews.com/movie-reviews/nope-spoiler-free-review
“Nope contains extraordinarily immersive technical elements, but the thematic focus raises narrative issues.
Jordan Peele takes full advantage of Hoyte van Hoytema’s phenomenal cinematography and Michael Abels’ memorable score to create a spectacle worthy of the big screen, but it’s the sound production that really elevates the movie to that level.
Daniel Kaluuya, Keke Palmer, and Steven Yeun are exceptional, but the latter is tied to an extremely thematic storyline – immensely rich – with little to no impact on the main plot, leaving countless questions unanswered and a divided audience while still affecting the overall pacing.
Humor is surprisingly effective, and the moments of suspense and tension deliver what viewers most desire. A film that deserves multiple viewings and will generate endless debates.”
Full review: open.spotify.com/episode/03ZQLC8VjUeeMGuAIbVyTq?si=b217083aa90c4457
Jordan Peele’s ‘Nope; comes in with some big expectations due to Peele’s previous work. ‘Get Out’ shifted the paradigm for horror movies, taking a genre which has historically been associated with a temporary experience of thrill and adrenaline, to being social commentaries on society and raising some deeper questions about ourselves in the process of watching his stories unfold.
Nope is no exception, and in fact it can be argued that it attempts to combine story, metaphor and meaning in a more ambitious way than his previous outings. Taking the central theme of ‘spectacle’, Peele beautifully illustrates its dangers and how we as a society are so obsessed with the spotlight to our own detriment (and even int he worst cases, eventual demise). Choosing a more science fiction approach this time around, Peele does a great job of story telling, and often subvert’s out expectations time and time again in the process. Aside from the film’s deeper meaning, some of the other highlights come in the form of the cinematography and performances from the central characters (mostly notably, OJ, Emerald and Angel). Peele has managed to create some complex characters which are highly relatable, and the chemistry between the actors is something which will be a lasting memory for me.
However, I do feel that the film does sacrifice plot and narrative in its relentless effort to hammer in the metaphor of the central theme – ‘Spectacle’. While I did enjoy each story (OJ and the Animal Alien and Gordie and Jupe), I had a hard time understanding the relationship they had with each other from a narrative point of view. It often felt like two stories could have been played out better without the interference of the other. Other than that I did have some questions around OJ’s motivations to tame / kill this animal, the legitimacy of the final impossible shot, the nature and behaviour the animal, and how / if OJ survived (or was this open for interpretation?). The ending of the film also was a slight let down with the death of the animal not being all that grand. This however could also be tied into the overall message of ‘Spectacle’ as the finale is often not worth the what we expect it to be.
Overall, I think Nope is a very good movie which will probably get better with a few re-watches to fully appreciate what Peele was trying to tell us.
Symbolism is flying over all of your heads
The amount of reviews calling this pointless and terrible clearly didn’t read much into what happens here. Peele is pointing a mirror up to you and the most ironic part is a lot of don’t even seem to notice. No, this isn’t a typical horror movie. It’s more of a Spielbergian blockbuster satire with some amusing moments sprinkled throughout. The “entity” is creative and can be quite terrifying. The cinematography is top notch and probably the standout feature of the film, while Kaluuya can say an immense amount without even speaking a word. The screenplay is odd to say the least, but it hits more than it misses.
While I still think this is a lesser film than Get Out or Us and it ran a little too long, you have to commend its originality in a summer sea of IP-based films. Peele attempts something profound and unique here, which should be respected regardless of your thoughts on the film.
That’s a ‘nope’ from me, dawg!
The way most critics are raving about “Nope” makes me wonder if I’ve been the victim of an elaborate prank where I was shown a different film than what they have been watching.
Because “Nope” is, at best, adequate — a watchable sci-fi action picture that, if it weren’t for the fact that it’s directed by an Oscar-winning red-hot director and has a budget of roughly $60 mil and stars an Oscar-winning actor, would not be out of place among the myriad of B-movies that litter the virtual shelves of Netflix or Prime Video.
First, the good stuff: the film looks gorgeous. Lots of beautiful shots of cloudy skies and spectacular night and day vistas. It was shot on Imax cameras by a master (Hoyte Van Hoytema, Christopher Nolan’s regular cinematographer), and it shows. And the dark, foreboding imagery helps Jordan Peele build some effective tension during the first half of the film, when the audience (and the film’s characters) still don’t know exactly what’s going on and what exactly is threatening them.
But then the film devolves into a mess where everyone (including the main antagonist) behaves illogically because that’s what the plot requires them to do in order to hit all the subtextual marks that Jordan Peele wants them to deliver. And therein lies the biggest problem with the film: it’s a very unsubtle ‘message’ movie, and Jordan Peele, really wants you to get what he’s trying to say, to the point of driving the point home with a hammer, over and over.
Without going into spoiler territory, the film’s plot is a not-so-veiled metaphor for the state of entertainment in our society. All the characters have some sort of connection to the entertainment industry in some form and/or are meant to symbolize a facet of it: the protagonists are two African American siblings, one of whom runs the family business, a ranch providing horses for Hollywood movies; the other is a wannabe performer/entertainer.
Their business is dying: animals are being supplanted by CGI, and horses can be unpredictable on set and hard to control, and therefore replaceable. Any parallel with the perception of people of color in the same industry is of course not accidental. Then you have the kid who works at (now defunct) Fry’s Electronics and is all about digital videos and streaming content. His name is Angel, probably because calling him YouTube or TikTok would have been a tad too transparent. Then there’s the the grizzled, obsessed old filmmaker (played by Michael Wincott, your go-to guy when you want someone who looks gruff and curmudgeonly, down to the ‘I just swallowed drain cleaner’ hoarse voice) who is disillusioned with the drivel he’s forced to shoot nowadays and is ready to roll with his trusty hand-cranked non-digital film camera and to sacrifice everything to the altar of cinematic art.
We also have the Asian cowboy slash circus entertainer (Steven Yeun) who suffered a traumatic event as a child actor which left him with deep unhealed psychological scars simmering under the surface, which all stereotypical ex-child actors are supposed to have and which of course will lead him to make horribly wrong, life-changing decisions. And, in what is the most transparent cypher in film packed to the gills with them, you have a TMZ reporter that is not even given a name or a face: he just shows up at some point on an electric motorcycle wearing a reflective helmet (get it? He’s just mirroring society’s obsession with capturing celebrities’ life! Hoo boy!) and expensive cameras. And of course we all know how Hollywood feels about paparazzi, so if you can’t guess what’s going to happen to him, you will love this film unironically.
Nobody in the film behaves the way a regular human being would. They do things because Jordan Peele needs them to deliver a message to the audience, logic and common sense be damned. I’m not even sure the film takes place in the real world, since all the events seem to involve only this microcosm of characters and nobody else. It’s like a Beckett play, except that the stage is a vast valley in the California desert inhabited only by a handful of people and the outside world doesn’t exist and is somehow unaware of the very visible and bizarre events taking place.
Imagine if Jaws took place in the California desert and the shark had a message against Hollywood and showbiz consumerism painted in bright neon letters on its side, and Brody, Quint and Hooper were replaced by much less competent characters whose purpose is not to kill the man-eating menace but to take pictures of it so they can sell it to Oprah and become rich, and you’ll have a pretty good idea of the basic plot of “Nope” (and the Jaws comparisons don’t end there — you’ll see what I mean at the end of the film).
As a scary movie, Nope is pretty devoid of actual scares (Peele has to resort to the oldest trick in the book, the ‘jump scare’, in a couple of occasions). It’s also surprising tame in the blood and gore department (most of the carnage takes place offscreen).
The talented cast does what they can with the material. Daniel Kaluuya’s OJ is nicely understated: a no-nonsense guy who seems to react to most of the craziness around him with a shrug or by saying “nope” (of course). Kiki Palmer is fine as his sister, though in typically cliched fashion, she suddenly switches from “shrieking, terrified woman” to “resourceful heroine” when the plot demands it. But they can’t save the film because they have to go through the motions of a plot that becomes increasingly preposterous (the plan that they devise in the third act makes no sense the more you think about it) Nope continues the downward trajectory of Jordan Peele after Get Out and Us. The former, still a modern masterpiece, succeeded because the metaphorical subtext didn’t get in the way of the plot: even if you completely ignored the clear references to slavery and race relationships, it still worked perfectly as a basic thriller.
Us was where we started getting hints Peele’s ambition might exceed his grasp (it was deliciously creepy and well executed, but the basic concept of a race of “alternate” underground dwelling doppelgangers was too bonkers and forced to work) And now we have Nope, where nothing makes sense outside of its function as a delivery system for Peele’s criticism of Hollywood, its treatment of minorities, and our society’s total dependence on entertainment at all costs.
I’ve seen critics make favorable comparison between Jordan Peele and Steven Spielberg (mainly due to the very evident influence of Close Encounters of the Third Kind and the aforementioned “Jaws), but a more apt comparison would be with M. Night Shyamalan, another director who hit the jackpot early in his career with a terrific movie and then proceeded to squander his potential with increasingly ambitious and less effective muddled message films.
In many ways, Nope is Jordan Peele’s “Signs”. Still enjoyable in parts, but too self-conscious for its own good and a far cry from the promise shown with Get Out.
Original Language en
Runtime 2 hr 10 min (130 min)
Genre Horror, Mystery, Sci-Fi
Director Jordan Peele
Writer Jordan Peele
Actors Daniel Kaluuya, Keke Palmer, Brandon Perea
Country United States, Japan, Canada
Awards 2 wins & 11 nominations
Production Company N/A
Sound Mix Sonics-DDP, Dolby Atmos, Dolby Digital, IMAX 6-Track, DTS (DTS: X), Dolby Surround 7.1, 12-Track Digital Sound (IMAX version)
Aspect Ratio 1.33 : 1 (Gordy’s Home), 1.43 : 1 (IMAX with Laser: some scenes), 1.78 : 1 (some scenes: IMAX Blu-ray), 1.90 : 1 (Digital IMAX: some scenes), 2.20 : 1
Camera Arri Alexa 65 Infrared, Panavision Sphero 65 Lenses (some scenes), IMAX MKIV, Hasselblad Lenses, IMAX MSM 9802, Hasselblad Lenses (some scenes), Panavision 65 HR Camera, Panavision Sphero 65 Lenses, Panavision Panaflex Gold, Panavision Primo Lenses (Gordy’s Home), Panavision Panaflex Platinum, Panavision Primo Lenses (Gordy’s Home), Panavision Panaflex System 65 Studio, Panavision Sphero 65 Lenses
Laboratory Company 3, Los Angeles (CA), USA (color) (finish), FotoKem Laboratory, Burbank (CA), USA (film processing)
Film Length N/A
Negative Format 35 mm (Gordy’s Home), 65 mm (also horizontal) (Kodak Vision3 50D 5203, Vision3 250D 5207, Vision3 500T 5219), Codex
Cinematographic Process ARRIRAW (6.5K) (source format) (some scenes), Digital Intermediate (4K) (master format), Dolby Vision, IMAX (source format) (some scenes), Panavision Super 70 (source format), Super 35 (source format) (Gordy’s Home)
Printed Film Format 70 mm, D-Cinema, DCP Digital Cinema Package