Nope (USA: Jordan Peele, 2022: 135 mins)
Eggert, Brian. "Nope." Deep Focus Review (July 21, 2022)
Flight, Thomas. "How Nope Tricks Your Ears." (Posted on Youtube: October 21, 2022)
---. "The Real Villain of Nope." (Posted on Youtube: September 29, 2022)
Ehrlich, David. "Nope: Jordan Peele’s Wildly Entertaining Blockbuster Is the Best Kind of Hollywood Spectacle." IndieWire (July 20, 2022)
Lyonhart, Jonathan D. "Peele’s Black, Extraterrestrial, Critique of Religion." Journal of Religion & Film (October 2023) ["While Jordan Peele’s films have always held their mysteries close to the chest, they eventually granted their viewers some climactic clarity. Get Out (2017) used an 1980s style orientation video to clear up its neuroscientific twist, while Us (2019) had Lupita Nyongo’s underworld twin narratively spell out the details of the plot. Yet Nope (2022) refuses to show its hand even after the game is over, never illuminating the connection between its opening scene and the broader film, nor a myriad of other questions. As such, critics complained that it stitched together two seemingly incongruent plots without explanation; one where a chimp attacks the crew of a successful Hollywood show, the other where an alien organism haunts a small ranch in the middle of nowhere. In this paper, I will argue that a theological interpretation of Nope helps explain some of these mysteries at its center, while revealing Peele’s underlying religious critique and its place within his broader oeuvre."]
O'Donnell, Conor. "Nope: Jordan Peele Delivers Grand Sci-Fi Spectacle." The Film Stage (July 20, 2022)
Palis, Elena M. "The Brand of Peele." Film Quarterly (December 12, 2023) ["Jordan Peele’s third feature film, Nope (2022), reenergized the already substantive circulation of “Peele” as auteur-star signifier. In their generic, political, and aesthetic coherence, Peele’s directorial features satisfy the classical auteur theorization of a knowable author and “authority.” Yet central to Peele’s signature films are resolute unpredictability, character shape-shifting, and narrative misdirection, epitomized by body snatchers in Get Out (2017), tethered doppelgängers in Us (2019), and aliens camouflaged by clouds in Nope. As an ironic manipulation of auteur knowability, Peele’s motif of deceptive, equivocal ontology requires a more complex understanding of Peele’s authorship, one that also takes into account Peele’s extrafilmic roles as producer, showrunner, and star persona."]
Peregrine, Rhys. "The Power of the Look: On Jordan Peele’s Nope." Bright Lights Film Journal (May 26, 2023) ["In this instance, the look is also a threat to those doing the looking. The act of seeing can be damaging not only to the target but also to the beholder. There are obvious parallels here with the consumption of exploitation film and how we, as audiences, are unwilling to look away, even when we should. It is what Peele referred to as “the dark side” of our obsession with spectacle."]
Veneto, Nicole. "Nope – Behold, the Great American Spectacle." The Arts Fuse (August 2, 2022)
Walters, Jacob. "Weird Wild West: On Jordan Peele’s Nope." Los Angeles Review of Books (September 24, 2022)
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