Nope (2022): YEP.

“Nope” is directed by Jordan Peele (Get Out, Us) and stars Daniel Kaluuya (Get Out, Judas and the Black Messiah), Keke Palmer (Lightyear, Ice Age: Continental Drift), Steven Yeun (Minari, The Walking Dead), Michael Wincott (The Crow, Alien: Resurrection), Brandon Perea (The OA, Doom Patrol), Wrenn Schmidt (Outcast, For All Mankind), Barbie Ferreira (Euphoria, Unpregnant), and Keith David (The Thing, Pitch Black). This film is about a brother and sister who live on a ranch and witness an unusual, shocking event that changes everything.

So far, when it comes to Jordan Peele’s filmography, he has proven himself as legit horror storyteller. “Get Out” is unsettling and perfectly paced from start to finish. “Us” has charismatic characters and is a fine balance between subtle and trippy. “Nope” contains some of the horror elements that audiences may have grown accustomed to over the past couple films Peele directed. There are jumpscares, strange happenings, and much like “Us,” there is an intentionally placed scene in the beginning that in most cases would almost feel kind of out of place.

However, the biggest difference between “Nope” and Peele’s previous work is the scope. It would be easy for me to say that “Nope” is the biggest film Peele’s made so far, but I can back that up by saying “Nope” cost $68 million to make. That is more than “Us,” which cost $20 million, and “Get Out,” which cost $4.5 million. But there are reasons beyond the numbers as to why it is so big. The film is entirely shot on 65mm film, including select sequences which were shot in IMAX. Yes, Peele went full Nolan on this movie. Although unlike Christopher Nolan with some of his recent fare like “Tenet,” I could actually hear what the actors were trying to say. You see what happens when booming music is used sparingly? Out of all the films Peele has done so far, this is the one that most closely resembles that summer blockbuster vibe.

This is probably the closest I think a director has come in some time to providing a Spielberg-like experience without the use of the actual Steven Spielberg. Now, Spielberg has done a lot of movies, but he is most well known for his blockbusters like “Jaws” and “Jurassic Park.” This leads me to my biggest praise for “Nope,” and that is that this movie does for UFOs what Steven Spielberg and crew did for the original “Jaws” and “Jurassic Park” movies. What do I mean? There is a UFO in the movie, but much like the shark in “Jaws,” the UFO is used sparingly. Much like that iconic shark some call Bruce, the UFO felt special. And kind of like in “Jurassic Park,” which took its time to establish the gargantuan nature of its dinosaurs, the UFO is not only menacing when it appears, but it made me as a viewer feel small. I am very likely going to buy “Nope” on physical media as it is that good of a film. I am quite curious to know how that effect is going to come off on my television screen. But I can say as someone who has seen “Nope” twice in the theater, each scene where the UFO played a crucial role made it feel like the literal elephant in the room.

Speaking of elephants in the room, let’s talk about my favorite performance in the film. Keke Palmer gives it her all in “Nope.” Emerald Haywood (right) is exactly the type of character this movie needed. Compared to “Get Out,” which at times dives into the divide between class and race, “Nope” feels more like an escape. And Palmer does her absolute best to give an escape. Her dynamic voice and personality are that of an auctioneer on Adderall. If the character of Emerald Haywood were not in the horse-training business, she has the perfect skill set to sell cars. Her energy and physicality grabbed my attention from scene one. Keke Palmer is set to host the upcoming NBC reboot of “Password.” After seeing what she could do in this film, they made a great choice for the upcoming host.

Now on the other hand, the main character of the film, OJ Haywood (left), has less physicality, not to mention personality. And things seem to be that way on purpose. Daniel Kaluuya does a solid job playing a stoic character who seems to be going through the motions. I think that if the film had OJ be a ball of energy like Emerald, that could create for a problem. In a film as big as this, there needs to be at least one dose of reality or silence within all the noise. If “Nope” were an Amtrak train, OJ would be the quiet car. But this also leads me to say that I like the other main characters in “Nope” more than OJ because their energy therefore made me feel more energetic myself throughout the runtime. Not only did Keke Palmer succeed in this mission with Emerald, but Steven Yeun deserves some credit too for his upbeat portrayal of Ricky “Jupe” Park.

Although I should not say that the reality in this movie is a waste, because one of the characters in this film reminded me of my time when I worked at Staples in the tech department. That character is Angel Torres, who works at Fry’s Electronics, a now defunct electronics store chain. The first scene between him and the brother-sister duo felt reminiscent of my tactics when checking people out, not to mention some of the customer’s reactions when I would pop a certain question. While Angel may seem like an everyday electronics store employee, or at least he was, until Fry’s closed with the rest of their locations, he ended up being a delightfully charming part of the film.

If I had any negatives with the film, the biggest standout would be that given how Jordan Peele has leaned into this blockbuster route, this makes the film feel less substantial compared to his others. Do not get me wrong, it is a great movie. But what I mean is that compared to “Get Out,” I did not think as much about deeper meanings. “Nope” tries to play around with something of this nature involving a sitcom and a monkey, but I honestly do not think it did much other than give one character some backstory. You know that saying about how when you get to certain age in your life, presumably somewhere in your young adulthood, and you realize that maybe you are not as smart as you once thought you might be? If “Nope” were a real person, it would not have reached that stage just yet. The movie chooses to open a certain way and continue a certain way with this ideology that I will not spoil, but did not particularly sit with me the way I think Peele would have wanted it to. It felt like a move that was trying to be pretentious, but only ended up feeling meaningless. I wish I could give more detail.

One final positive before we move on. Over the years, many movies have used their title through the script in such a way that stands out. In “Back to the Future,” there is a scene where Doc exclaims he will send Marty back to the future. In “Better Off Dead,” there is a literally a song with the lyrics “better off dead” that plays a prominent role. I will also go back to “Jurassic Park” and the massive scale it provides. One scene where that tactic comes into play has the character of John Hammond magnificently say “Welcome to Jurassic Park.” I think “Nope” officially takes the crown for best use of a movie title in its own movie. I think that as long as I shall live, there will NEVER be a better use of this concept. The moment one particular character says “Nope,” the entire auditorium cackled like hyenas, and for good reason.

In the end, “Nope” gets a yep from me. This is not Jordan Peele’s best film. In fact, in some ways, it might be his worst, but it is also the most fun of the ones he has made. It is definitely one I would watch on a Friday night if I want to look at something massive. The cinematography, which is done by the great Hoyte van Hoytema, is some of the best of the year. The night shots look beautiful, the climax looks incredible, and there is one particular money shot I would love to have as a desktop photo if I were more willing to customize my setup. “Nope” is a good time and it is fun to look at. But unlike “Get Out,” this is perhaps less likely to be nominated for Best Picture. Although if the Academy Awards took place right now, Keke Palmer should get an acting nomination per my opinion. I am going to give “Nope” a 7/10.

“Nope” is now playing in theatres everywhere. Tickets are available now.

Thanks for reading this review! If you enjoyed my thoughts on “Nope,” be on the lookout for more reviews! Pretty soon I will share my thoughts on “DC League of Super-Pets” and “Vengeance.” If you want to see this and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “Nope?” What did you think about it? Or, what is your favorite summer blockbuster of all time? Let me know down below! Scene Before is your click to the flicks!

Lightyear (2022): Star Wars Meets a Family Friendly Interstellar in This Beautifully Animated Pixar Spinoff

“Lightyear” is directed by Angus MacLane, a Pixar insider who has helmed multiple animated shorts and made his feature-length debut with 2016’s “Finding Dory.” That feature, by the way, is frankly better than its Nemo-centric predecessor. There is no changing my mind. “Lightyear” stars Chris Evans as the titular space ranger, providing for a fresh take on the iconic role once helmed by Tim Allen (Last Man Standing, Home Improvement). Joining Evans is a cast including Keke Palmer (Scream Queens, Hustlers), Peter Sohn (Ratatouille, Monsters University), James Brolin (Westworld, The Amityville Horror), Taika Waititi (Thor: Ragnarok, Jojo Rabbit), Dale Soules (Orange is the New Black, The Messenger), Mary McDonald-Lewis (G.I. Joe, Archer), Efren Ramirez (Crank, Napoleon Dynamite), and Isiah Whitlock Jr. (Your Honor, The Wire) in a spinoff to the “Toy Story” universe… Sort of.

“Lightyear” is a film that Andy, a character known in “Toy Story” lore, loved as a child. It was his favorite movie, and therefore, we find out the reason why he has a Buzz Lightyear toy is because of this movie. Andy’s favorite movie, which is what we, the audience, are treated to, is about a young Buzz Lightyear trying to find a way to get his crew home after being stranded on a planet for an extended period. Turns out time is not the only enemy in Buzz’s path as he must survive against an army of robots commanded by Zurg.

Pixar is the pinnacle of animation today. I genuinely look forward to just about everything they do, even though most of their marketing campaigns do not sit well with me. But in the end, it is about the movie. Similar to the cliché saying that it is not about the outside, but the inside, Pixar proves that it is not all about the trailers for their films, which usually are unmemorable or do not prompt enough reason for me to watch them, but instead the films that were previously advertised, which are sometimes masterpieces. “Inside Out” to this day is one of the few movies that made my eyes water. “The Incredibles” is an action-packed, thrilling adventure that is secretly the best on-screen adaptation of “Fantastic Four.” “Cars” is fun, colorful, exciting, and has a wonderful soundtrack. The Pixar library is one of the best in film history, animated or not. This is why I was worried, years ago, when I found out we would be getting a “Toy Story 4.”

Despite my apprehension, “Toy Story 4” turned out to be an entertaining, joyful movie that not only presents itself as a surprisingly welcome addition to the franchise, but shows that Pixar can present some of the most realistic-looking animation ever put to screen. There is a scene with a cat from “Toy Story 4” that I continue to ponder over to this day…

Now we have “Lightyear,” which is not exactly a “Toy Story 5,” but a fictional universe within another fictional universe. I will admit, as desperate of an idea as it may sound, I like the concept. Because in our world, we have our beloved stories. In the science fiction genre, “Star Wars,” “Star Trek,” and “Back to the Future” are some of the first examples that come to mind. This movie begs the question, supposing that a movie such as “Star Wars” does not exist in the “Toy Story” universe, “What is Andy’s ‘Star Wars’?”

Like the opening text suggests, this is that movie.

But just because Andy likes this movie, does not mean I will. So, what did I think of “Lightyear?”

You know how I mentioned that Pixar often flubs its trailers or makes them less appealing than others? Here is a crazy coincidence, I thought the trailers for “Lightyear” are easily the best Pixar has ever done. I thought their goal with the movie was clear, the footage we got with SOX was charming, and the space scenes looked gritty and eye-popping. Unfortunately, for Pixar standards, this is towards the lower tier.

Now, this is not as bad as “Luca,” but I thought Pixar’s previous outing, “Turning Red,” was a bit better. I think part of it has to do with the unique, dynamic nature of the film that I have not seen in any other Pixar story before. “Lightyear” feels like it blends the vibes of “Wall-E” with “Star Wars” and “Interstellar.” Some of you reading this likely know who I am, and think I am going crazy. I adore “Wall-E,” I love “Star Wars,” and if I could legally marry a movie, “Interstellar” would probably be getting the ring.

I will say the same thing about “Lightyear” that I said in regard to “Space Jam: A New Legacy,” a movie that heavily relies on inserting crossovers and references to the Warner Bros. library. One difference between “A New Legacy” and “Lightyear” is that “Lightyear” is a completely watchable, entertaining film. Imagine that! But one thing I will note about “Lightyear,” even though it is nowhere near as obvious, is that it seemingly pays tribute to other stories, most notably “Star Wars.” The relationship between Buzz Lightyear and Zurg in this film is almost reminiscent of Luke and Vader in “Star Wars” at times. Although that does make sense because if you watch “Toy Story 2,” there is a scene in that film with the toy versions of the characters that is almost done in the same style as a key scene from “The Empire Strikes Back.” With that in mind, I would rather watch Luke and Vader duke it out in “Empire” than watch any of the scenes between Buzz and Zurg in “Lightyear.”

Let’s talk about Chris Evans as Buzz Lightyear. I have mad respect for Evans as an actor, because in one moment he can carry a blockbuster in the Marvel Cinematic Universe, and in the other, he can come off as the most delightfully charming of morons in “Knives Out.” Evans has unbelievable range as an actor, so I was excited to see what he could do as the Buzz Lightyear character. Yes, I know that this technically means that Tim Allen is not voicing Buzz Lightyear, but let me remind you that this is not the Buzz Lightyear toy and instead, a man that inspired the toy. Evans’s raspy voice fits the character and is proper enough to make him come off as this universe’s Han Solo. Again, this is basically “Star Wars.” This movie pictures Buzz as a determined, manly, roguish individual who will not stop until he “finishes the mission.”

As suggested in the title, “Lightyear” is essentially a family friendlier take on Christopher Nolan’s “Interstellar.” While not as complex, the science fiction angle tends to border between realistic and fantastical. It’s believable, but it also makes us wonder what undiscovered portions of our own universe could look like. Plus, the concept of “Interstellar” involves one man trying to find a new home for humanity. The reverse is happening in “Lightyear” where one man tries to get people back to where they personally call home. And much like “Interstellar,” this movie has a somewhat mixed cast of sidekicks, including robots.

Once we get into the meat of the film, we meet a set of sidekicks who may talk a good game but when it comes to action, that is lackluster in comparison. I like this concept, partially because it is relatable, but I also dislike it. I will start with the dislikes first, because they are not as in depth.

The sidekick characters of “Lightyear” are at times, some of the most annoying, disposable characters ever created in Pixar history. As much as I like Taika Waititi, the writing for his character of Mo Morrison (top left) ranges from stupid to cringeworthy. Sometimes both. I have nothing against Waititi himself, he took the words written on the page and portrayed them as accurately as he could, but his character was written in such a way that could have made him a lovable idiot, but given the context of certain things, I do not think “lovable” would be the right adjective to use here. The movie “Lightyear” convinced Andy in the “Toy Story” universe to own a Buzz Lightyear toy. I can see why he probably begged his mom to buy a Buzz Lightyear toy instead of Mo Morrison or one of the other supporting characters. I have heard worse dialogue in my life, but here, it either feels cheap or annoying. Sometimes it works, but the times it did not work stuck out to me like a sore thumb.

With the negatives out of the way, I do want to talk about this idea that the movie goes for. “Lightyear” is a fun film, like many Pixar movies. But also like some Pixar movies, it could occasionally tug the heartstrings. There is a well-executed montage in this film that some would compare to the famous few minutes in “Up” where we witness the life of Carl and Ellie. It is some of the best editing I have seen all year. That is this film’s earliest example of showcasing the inevitability of failure. Many of us, including myself, have been through a portion of our lives where we question whether what we are doing is worth it. Whether we are good enough. Sometimes we do not have access to an opportunity, and in others, we do not even know where to start. I have taken one or two classes during my college years where these thoughts have come up.

Despite their slightly offish writing at times, I like the concept behind the characters of Izzy Hawthrone (bottom left), Mo Morrison, and Darby Steel (top right). They are flawed, but that is also what makes them work. Hawthorne spends much of the movie worrying about her legacy. How is she going to live up to her grandmother’s expectations? Mo Morrison never spills the beans on this, but he almost felt like this movie’s representation of the phrase “fake it until you make it.” You may not know something, you may not be good at something, but you might as well do that something until you know you can call yourself a master. Darby Steel’s main goal of the movie is to shave some time off of her sentence, and to do so, she needs to go on the mission with the rest of the crew. I like the idea of having these significantly unconfident, arguably incompetent, characters play major roles like the ones they do in the film. I just wish they were written or portrayed in a slightly less annoying manner. Although there was one recurring gag involving Mo Morrison with a pen that had its moments.

If I had to be honest, the best sidekick in the entire film is SOX (right), a robotic feline whose goal is to assist Lightyear with his various needs. This assertion should not come as much of a surprise. My favorite Pixar supporting character that comes to mind is also a common household pet, specifically Dug, the comic relief dog from “Up.” While SOX is no Dug, he does have his moments to shine in the spotlight. His writing feels logical for a typical robot character, but in robot speak, he somewhat reminded me of TARS from, again, “Interstellar.” While SOX in this case does not come with “humor settings,” he has some occasional lines that are not necessarily jokes that got a laugh out of me. It is nice when robots know what makes humans tick. He is wonderfully voiced by Peter Sohn, a talented voiceover artist who previously lent his utterances to Emile in “Ratatouille.”

This almost seems unfair, because “Lightyear” from start to finish, between the concept, execution, and everything in between, is practically a different movie than any of the “Toy Story” installments we have gotten. While “Lightyear” is by no means a bad film, it is no “Toy Story.” If I had to be real, I think even “Toy Story 4,” a film that like this one, I probably never asked for, is a better movie. I think the adventures of Buzz Lightyear, the toy, are more entertaining and joy-filled than “Lightyear.” It pains me to say that because this film reminded me of a couple great science fiction stories here and there, it had a couple halfway decent characters, the animation is some of the most stunning I have EVER seen. I think the best thing about this movie is that if you have young children and you want to give them a proper gateway into science fiction, “Lightyear” is a solid option before showing them movies like “Interstellar” or “Gravity.” But much like what I said with “The Empire Strikes Back,” I think I would rather watch the “Toy Story” films again on a Friday night before “Lightyear.”

I did see the film twice in the theater, but it was partially because I wanted to see how they handled the supersized 1.43:1 IMAX aspect ratio, which I can confirm made the film pop like few others. I liked the film enough to see it a second time for that, but maybe not a third time.

In the end, “Lightyear” is a decent science fiction movie, but for the standards of Pixar, I would put this with “Onward,” which is not a bad film. But for the standards of a studio as incredible as Pixar, that is not the best comparison to make. To shoot for “Onward” is not enough for them. Pixar genuinely makes some of the best animated movies, but this is not enough to join the greats. Although I will remind you, there are many studios out there, many filmmakers out there, that would kill to make a movie as good as a lower tier Pixar film. I still have yet to see a flat out awful movie from the studio. Hopefully that day never comes. I have faith. “Lightyear” is definitely worth seeing in the theater, especially in IMAX. The spectacle is insane. There are some truly colorful, vivid, detailed scenes that will definitely drop jaws. Although I left the film thinking to myself that I should probably rewatch a couple other films instead of this one. I am going to give “Lightyear” a 7/10.

“Lightyear” is now playing in theatres everywhere, and do yourself a favor, if there is a true IMAX theater near you, buy a ticket for “Lightyear” and go watch it in that theater. Major shoutout to the Jordan’s Furniture in Reading, Massachusetts and their amazing laser projection system for providing me with an epic movie experience. Tickets are available now.

Thanks for reading this review! If you enjoyed this review, check out some of my other ones! This month I did reviews for “Everything Everywhere All at Once” and “Hustle.” If you want to stick with the “Lightyear” theme, check out my thoughts for “Toy Story 4.” My thoughts have admittedly changed on the film a little since my review, but if you want to check out my first impression, here you go! If you are interested in long-form content, check out a recent five-thousand word post I did on why I cannot stop watching “Belle,” the new anime directed by Mamoru Hosoda. If you want to see this and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “Lightyear?” What did you think about it? Or, what is your favorite science fiction movie of all time? Let me know down below! Scene Before is your click to the flicks!