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here is a spectacular scene toward the end of Jordan Peele's new sci-fi-horror-meta-extravaganza – an apocalyptic rainstorm traps Daniel Kaluuya in his truck, where he delivers a well-placed, comic "nope". The episode is just right, funny, frightening and mysterious. That's the good news, and pretty much all the good news. If only the rest of Nope worked nearly as well. For months the trailer has been teasing us with the sight of a frightened Kaluuya and Keke Palmer looking up at the sky, Steven Yeun in a cowboy hat and hilarious bright red suit, and a glimpse of what seems to be a flying saucer. It promised a frothy, entertaining popcorn movie, infused with Peele's usual layers of social commentary. But Nope turns out to be a would-be romp that often limps along instead.
Expectations were high even before the trailer, of course. Peele's Get Out (2017) was a true instant classic, effective as horror and trenchant as a critique of racial stereotyping. Us (2019) leaned even more into horror as it dealt with class and race.
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Nope has a bigger scale and huge ambitions, reaching for ideas about fame and the entertainment industry. With Kaluza and Palmer as siblings who have inherited their father's ranch and business, wrangling horses for film and TV, the film borrows tropes from sitcoms, 1950's space-invader movies,