As I mentioned in another recent review, the studios are shifting with the change of seasons. With Fall a few days away, most would be releasing their big “awards-bait” prestige projects. Ah, but this week’s new big release doesn’t fit into that strategy as much as it meshes with two other staples of the cooler temps. First, it’s set in the world of high-stakes pro football (yes, the 2025-26 games have already begun). Oh, and Halloween is just a few weeks away (most stores have had the “spooky aisles” set up since late August). Really, a “horror sports flick”? I can recall a few thrillers like the original STRANGERS ON A TRAIN and THE FAN. Plus, the musical classic DAMN YANKEES has its supernatural Faustian main plot. And, of course, there’s the hockey mask-wearing J. Voorhees. So, it’s time that the “passers of pigskin” get their chance to terrify in HIM.
The title pronoun may just refer to Cameron Cade, who we first meet as an obsessive football fan who’s only seven or eight years old. He’s “glued to the tube” for all the games played by his fave USFF team, the San Antonio Saviors, who are led by their star quarterback (and Cam’s idol) Isaiah White (Marlon Wayans). The story springs ahead via a montage of images of Cam grabbing headlines on the field in high school and college. Unfortunately, Cam’s papa passes away before the pro teams begin “sniffing around”. Luckily, his devoted mama, Yvette (Indira G. Wilson) is his “rock”. While tossing a few balls late at night on his old high school field, Cameron (Tyriq Withers) is gravely injured by a masked assailant (perhaps dressed in a mascot costume). After a major surgery and lots of rehab, Cam appears to be nearly healed of his massive brain injury. But can he resume his quest for “gridiron glory”? Thanks in part to his aggressive agent/manager (Tim Heidecker), the Saviors will give him a most unusual “try-out”. Cam will travel down to the home/training compound of his idol, Isaiah (who may be in his final season), who will see if he’s ready to be their new quarterback. The White “estate” covers several acres in the desert, cut off from the adoring throngs, although several scary fanatics hover near the fence. There Cam also meets the “doc” (Jim Jefferies) and the flamboyant “online influencer”, Isaiah’s wife, Elsie (Julia Fox). Cam is put through grueling physical torments during a series of exercises that take a dark, sinister turn. Cam soon realizes that Isaiah’s not just interested in prepping his body for life in the “pros”. The increasingly intense White may be trying to possess Cam’s soul.
Withers is truly put through all manner of dramatic and physical “paces” as the often confused, but still “laser-focused” young Cameron. He’s a compelling presence as he looms over most of his castmates, searing into them with his questioning, expressive eyes. Most importantly, he draws us in to see Cam’s pain and torment. The cause of much (almost all) of it is Isaiah, played with pitbull-like ferocity by Wayans. He’s eager to break out of the comedy genre, so this screen vet nearly devours anyone vying to share the screen with him. Certainly, he gets our rapt attention even as his methods are murky and muddy. Luckily, many of the supporting players bring some much-needed humor to relieve the tension. Fox is a zany, quirky online “gadfly” as she hawks her new-age trinkets and attempts to be a nurturing matriarch to Cam, while still leading an unending line of grinding strippers. Heidecker puts a hyperbolic spin on the JERRY MAGUIRE-super sports broker trope, careening like a mad dervish after downing a massive mocha. The best laughs are generated by stand-up superstar Jefferies, who delivers doses of surly snark along with whatever’s really in his ever-present hypo (probably not vitamins).
Justin Tipping, in his sophomore directing effort, really seems to be “going for it” as he throws every flashy effect and editing flourish “at the wall” to see if the visuals can “stick” onto the script he co-wrote with Zack Akers and Skip Bronkie. And it is exhausting, making us more weary than any film under 100 minutes should. The MTV-inspired cuts and razzle dazzle create a heady fever dream while keeping us as perplexed as Cam. The heavy, clunky religious riffs seem to be pointing to White as Satan’s recruiter, though Isaiah would appear to be equally content with eliminating this new “GOAT”. As for the horror aspects, there are a few effective “jump scares” along with lots of gooey gore and even several X-ray enhanced set pieces (tackling skeletons). But all the sound and fury (and N-bombs, pounding music beats, and gyrating groupies) don’t tell us anything new about the “quest for success”. The revelation about the wealthy owners (wow, they’re actually evil monsters) feels like the retread of familiar cliches. It all leads to an off-the-rails finale that results in a big fumble and eventual defeat for the ultra-hyper HIM.
What would you sacrifice to become the greatest of all time?
From Oscar® winner Jordan Peele and Monkeypaw Productions, producers of the landmark horror films Get Out, Us, Candyman and Nope, comes a chilling journey into the inner sanctum of fame, idolatry, and the pursuit of excellence at any cost, featuring an electrifying dramatic performance from Marlon Wayans (Air, Respect).
HIM stars former college wide-receiver Tyriq Withers (Atlanta, the upcoming I Know What You Did Last Summer) as Cameron Cade, a rising-star quarterback who has devoted his life, and identity, to football. On the eve of professional football’s annual scouting Combine, Cam is attacked by an unhinged fan and suffers a potentially career-ending brain trauma.
Just when all seems lost, Cam receives a lifeline when his hero, Isaiah White (Marlon Wayans), a legendary eight-time Championship quarterback and cultural megastar, offers to train Cam at Isaiah’s isolated compound that he shares with his celebrity influencer wife, Elsie White (Julia Fox; Uncut Gems, No Sudden Move). But as Cam’s training accelerates, Isaiah’s charisma begins to curdle into something darker, sending his protégé down a disorienting rabbit hole that may cost him more than he ever bargained for.
The filmfeatures a dynamic supporting cast including alternative comedy legend Tim Heidecker (First Time Female Director, Us) and Australian comic Jim Jefferies (The Jim Jefferies Show), plus MMA heavyweight fighter Maurice Greene and hip hop phenoms Guapdad 4000 and Grammy nominee Tierra Whack, all three in their feature film debuts.
HIM is directed by Justin Tipping (Kicks) from an acclaimed Black List screenplay by Zack Akers & Skip Bronkie (creators of the sci-fi crime series Limetown) and by Justin Tipping. The film is produced by Ian Cooper (Nope, Us), Jordan Peele (Candyman, BlacKkKlansman), Win Rosenfeld (Candyman, Lovecraft Country) and Jamal M. Watson (Hala, Sprinter) for Monkeypaw Productions and is executive produced by David Kern and Monkeypaw’s Kate Oh.
Since we’re now into the slow slide from Easter/Spring Break into the Summer cinema season, how about an MMA-style action thriller full of fights and daring escapes? Oh, you say we just had that in the remake of ROAD HOUSE just a couple of weeks ago. Well that flick, despite the director’s protests to the press, bypassed the multiplex and went right to a streaming service. And this new release almost went the same route until an Oscar-winning filmmaker saw it, bought it, and helped prep it for a wide theatrical debut. Oh, and speaking of debuts, this is the first feature directed by the star of a Best Picture Oscar winner over a dozen years ago. Yes, he was the lead in that, and he’s in the lead here as the mysterious avenger who is known as the MONKEY MAN. And no, he’s not another comics-based hero.
Rather, his moniker is based on mythology. In the flashback opening sequences, a young mother and her six or seven-year-old son enjoy the peaceful countryside as she tells him of the Indian animal deity Hanuman AKA the “monkey god”. Flash forward to now in an underground mixed martial arts “fight club” somewhere in bustling Mumbai. One of the brawlers is a lanky fellow wearing a rubber simian mask, along with a filthy tank top and sweatpants. Moments after being introduced by the preening ring MC “Tiger” (Sharlito Copley), the Monkey Man (Dev Patel) is pummeled by “King Cobra”. On his way to the locker room, he endures the taunts of a connected “hustler” named Alphonso (Pitobash). MM who also uses the name Bobby tolerates him since he’s part of his master plan to get a job at the exclusive VIP club where Alphonso works. His boss is a cruel mistress named, naturally, “Queenie” (Ashwini Kalsekar). With the aid of several “street people” Bobby gets her wallet, only to return it to her. Instead of a cash reward, Bobby asks for a job in the kitchen. With an assist from Alphonso (he bets on Monkey Man to take a “dive”), Bobby becomes a server in the ultra-exclusive top floor “playpen” where Queenie provides beauties trafficked from around the globe to international “high rollers”. At last, Bobby spots his reason for being there, his “target” a corrupt sadistic police captain named Rana (Sikandar Kher). Seeing him unleashes many painful childhood memories from Bobby’s time in that forest with his mother. Eventually, Bobby saves up to buy a gun, and then figures out a way to get it past the many security “checkpoints”. So does his revenge scenario play out as planned, or will Rana survive and exact his own vengeance?
Building upon the fighting skills he used six years ago in THE WEDDING GUEST, Patel proves more powerful than his tall, slender physique would suggest. In his bouts, we see, despite the mask, a man in a near-constant panic as he struggles in the opening matches. And that same emotion is echoed in the big high-rise throwdown when things go more than a bit “sideways”. That’s not to say that Patel’s often stoic Bobby is all furious fists and feet. His downturned eyes hint at the heavy weight of family tragedy that almost forms a dark cloud over him. He’s not full of 80s action star quips and snark, and barely makes any human connections. Luckily he does befriend one of the “menu women”, a haunted beauty named Sita played with gentle power by Sobhita Dhulipala. Well, Bobby also connects with a hungry “alley pup’, which brings some extra pathos. And the laughs are provided by a talented trio, Pitobash is a motor-mouthed wiseguy whose bravado distracts from his own tragic past. Kalsekar is a foul-mouthed mini-tornado of disdain and abuse (toward her “staff”). And Copley is the ultimate hammy, and quite swarmy, host as he plays to the crowds while insulting the real “talent”. They’re all an amusing counterpoint to the sneering Kher who makes Rana a great villain more than worthy of our hisses and boos.
Yes, as I alluded to earlier, Patel is making his feature film directing debut while also producing and contributing to the script. And what an ambitious undertaking as he’s in nearly every scene with most consisting of very intense fight choreography (and Patel did take his “lumps” via broken bones and even an eye infection). Aside from the stunts, he creates a great gritty atmosphere as we get “down and dirty” on those dusty streets where denizens scramble for space. One memorable image is Patel’s Bobby in the center of dozens of people “sardine-style” as they try to sleep under a nosy auto overpass. These scenes are in great contrast to the gorgeous flashbacks of a forest paradise (that waterfall). But soon we’re back on the move, as Patel often uses a POV angle to place us right in the mayhem as he ramps up a big pursuit that even takes a second to inject some satire (window jumps are tough). And sure, it’s in the JOHN WICK “wheelhouse” with one bit of dialogue referencing the series. Though this is unique as it hooks us with the fairy-tale legends and the political backdrops. Yes, there’s something of a lull between the two major action “set-pieces” in which we get more backstory and the obligatory “training montage”, but the wait is more than worth it as the finale is truly epic Patel is a terrific physical actor and shows us that he’s a filmmaker to watch (just like the flick’s “savior” Jordan Peele) with the fighting fable of MONKEY MAN.
Oscar®-winning filmmaker Jordan Peele (Get Out, Us) unleashes his latest spine-tingling thriller with NOPE, a mysterious sci-fi pop nightmare available to own for the first time as a Collector’s Edition on Digital September 20, 2022 and on 4K Ultra HD, Blu-ray™ and DVD on October 25, 2022 from Universal Pictures Home Entertainment. Certified Fresh on Rotten Tomatoes, this “spellbinder that keeps pushing boundaries” (Peter Travers, ABC News) will have you never looking at clouds the same way ever again. The exclusive Collector’s Edition comes filled with more than 90 minutes of never-before-seen bonus content, including a revealing documentary that dives deep into the film’s rich DNA and Peele’s extraordinary vision; an exploration into the conception, design and execution of entity “Jean Jacket”; deleted scenes, a gag reel and more taking audiences behind the scenes of the out-of-this-world adventure.
Featuring an incredibly talented and dynamic ensemble cast, NOPE is written, directed and produced by Jordan Peele and showcases outstanding performances by Oscar® winner Daniel Kaluuya (Get Out, Judas and the Black Messiah), Emmy® Award winner Keke Palmer (Hustlers, Scream Queens), Oscar® nominee Steven Yeun (Minari, The Walking Dead), Michael Wincott (Basquiat, What Just Happened) and breakout star Brandon Perea (The OA).
Jordan Peele reimagines the summer movie with NOPE, an expansive epic of uncanny science fiction. Following their father’s shocking death, Hollywood animal wrangler OJ (Kaluuya) and his sister Emerald (Palmer) begin observing unexplained phenomena on their vast Southern California ranch that leads them down an obsessive rabbit hole as they plot attempts to capture the mystery on camera. Along with a former child star turned family theme park ringmaster (Yeun) who neighbors the siblings, the pair’s efforts to chase the spectacle soon bring terrifying consequences and unimaginable horror. The result is a complex social thriller that unpacks the seeds of violence, risk and opportunism that are inseparable from the romanticized history of the American West … and from show business itself.
With the purchase of NOPE on digital or disc, fans are eligible to earn points towards digital movies via the Universal All-Access Rewards program. Members can redeem their points for digital movies, swag and more! For registration and details please visit www.MyUniversalRewards.com.
NOPE
EXCLUSIVE BONUS FEATURES ON 4K UHD, BLU-RAYTM, DVD & DIGITAL:
SHADOWS: THE MAKING OF NOPE* – Unpack the meaning of NOPE with Jordan Peele. Secrets are revealed with this 56-minute immersion exploring the film’s unanswered questions, taking you on an intimate journey inside every aspect of production and offering a detailed look at Peele’s revolutionary filmmaking process.
DELETED SCENES – Watch five unreleased scenes from NOPE
GAG REEL – A highlight reel of bloopers and outtakes featuring main cast
CALL HIM JEAN JACKET – The object of the Haywood siblings’ fascination is an entity known only as “Jean Jacket.” Filmmakers provide insights into the conception, design, and execution of this mysterious organism.
MYSTERY MAN OF MUYBRIDGE – A deep dive into THE HORSE IN MOTION by Eadweard Muybridge, its relationship to the Haywoods, and how it relates to the larger themes in NOPE.
*Not on DVD
Writer/producer/director Jordan Peele on the set of Nope.
FILMMAKERS:
Cast: Daniel Kaluuya, Keke Palmer, Steven Yeun, Michael Wincott, Brandon Perea
Casting By: Carmen Cuba CSA
Music By: Michael Abels
Editor: Nicholas Monsour
Production Designer: Ruth De Jong
Director of Photography: Hoyte Van Hoytema ASC, FSC, NSC
Aspect Ratio: 2.20:1 and 1.78:1 (Enhanced Aspect Ratio)
Rating: R for language throughout and some violence/ bloody images
Languages/Subtitles: English, French Canadian and Latin American Spanish
Sound: English (Dolby Atmos for Feature and Dolby Digital 2.0 for Bonus Content), French Canadian (Dolby Digital 5.1), Latin American Spanish (Dolby Digital Plus 7.1)
Aspect Ratio: 2.20:1 and 1.78:1 (Enhanced Aspect Ratio)
Rating: R for language throughout and some violence/ bloody images
Languages/Subtitles: English, French Canadian and Latin American Spanish
Sound: English (Dolby Atmos for Feature and Dolby Digital 2.0 for Bonus Content), French Canadian (Dolby Digital 5.1), Latin American Spanish (Dolby Digital Plus 7.1)
Aspect Ratio: 2.20:1 and 1.78:1 (Enhanced Aspect Ratio)
Rating: R for language throughout and some violence/ bloody images
Languages/Subtitles: English, French Canadian and Latin American Spanish
Sound: English (Dolby Digital 5.1 for Feature and Dolby Digital 2.0 for Bonus Content), French Canadian (Dolby Digital 5.1), Latin American Spanish (Dolby Digital 5.1)
Director Adamma Ebo’s HONK FOR JESUS. SAVE YOUR SOUL. is a satirical comedy starring Regina Hall as Trinitie Childs – the proud first lady of a Southern Baptist megachurch, who together with her husband Pastor Lee-Curtis Childs (Sterling K. Brown), once served a congregation in the tens of thousands. But after a scandal forces their church to temporarily close, Trinitie and Lee-Curtis must reopen their church and rebuild their congregation to make the biggest comeback that commodified religion has ever seen.
The cast includes Regina Hall, Sterling K. Brown, Austin Crute, Conphidance, Devere Rogers, with Avis Marie Barnes And Nicole Beharie.
WAMG is giving away 2 free passes to the St. Louis advance screening of HONK FOR JESUS. SAVE YOUR SOUL.
DATE AND TIME: Tuesday, August 30th, 7pm at the AMC Esquire
The screening will be filled on a first come first served basis, so we encourage you to arrive early. Seats will not be guaranteed. Rated R.
Enter at the link below. Winners will be selected Friday, August 26.
Executive Produced by Jordan Peele’s Monkeypaw Productions, along with Win Rosenfeld, Dana Gills, Carolina Groppa, Will Greenfield, Lucy Keith, and produced by Daniel Kaluuya through his production company 59% with Rowan Riley & Amandla Crichlow alongside Pinky Promise’s Jessamine Burgum as well as Adamma Ebo, Adanne Ebo, Kara Durrett, Matthew Cooper, Regina Hall, Sterling K. Brown.
Although the calendar tells us that we’re cruising into the last half of Summer, the soaring temps are making most of us feel as though we’ll never escape from the “furnace”. And so, the multiplex provides a welcome cool sanctuary, at least for a couple of hours or so, Of course, the big action blockbusters and animated feature frolics are still taking up a lot of space on the ole’ marquee. Horror fans may think that they’ll have to hold out till Fall after getting their spines “tingled” last month with THE BLACK PHONE (although the newest JURASSIC WORLD and Doc Strange installment had lotsa’ surprise scares). Not to fear (at least till the flick begins) because after a three-year ‘time-out” the studios’ new “golden god” (he did get an Oscar) of terror is back with a spooky story shrouded in secrecy, one that Hollywood hopes will have the ticket-buyers shouting “Yup!” to NOPE.
After a disturbing flashback scene at a TV sitcom soundstage, the film jumps ahead to an incident from earlier in this year. A freak accident at a dusty horse ranch in Agua Dulce, CA claims the life of its owner, Otis Haywood, JR. (Keith David) right in front of his son OJ (Daniel Kaluuya). Jump to the present day as the serious and somber OJ continues the family business of providing horses to the entertainment studios alongside his often flighty sister Emerald (Keke Palmer). Their newest gig is a bust so they haul the rowdy stallion to the owner of the old West-themed “tourist trap” Jupiter’s Claim, former child TV star (hmmm) Ricky Park (Steven Yeun). OJ considers this transaction more of a “rental” than “sale” as he hopes to buy back the steed. Later that night, the prized white “show-horse” Ghost vanishes. Due to the strange nocturnal activity, the Haywoods believe that a UFO may be involved, and some visual proof could net them some cash to save the ranch. A trip to the local “big box” electronics shop puts the duo in contact with the hustling retail “drone” Angel (Brandon Perea), who drives out and personally sets up the security cameras all around the house and stables. But he also hooks up a link to his computer system. When he sees some “weird stuff” in the skies, Angel insists that he be part of a trio to “get the vids”. And when a bizarre incident occurs at Ricky’s business, the trio becomes a quartet when they contact grizzled LA “camera jockey” Antlers Holst (Michael Wincott). Soon the documentary shoot turns into a fight for survival as a mysterious entity swooping down from the clouds makes the group its target.
Reteaming with his GET OUT director, Kaluuya turns into a tight, stoic performance as OJ often evoking the “close to vest” Western stars over cinema’s history from William S. Hart to Gary Cooper to Clint Eastwood, though he shows us that there’s a lot going on in his half-shut weary eyes. He’s got the burden of his family hertiage as he tries to keep things “afloat’, which accounts for his zeal in making a “viral cash splash”. But we also get a sense that he’s looking for a “payout” and “payback” as he thinks there’s more to his adored papa’s demise. And he’s the perfect balance to Palmer as the motor-mouthed Emerald whose brain seems to be in “over-drive” as she considers all the “angles”, and hoping to get a bit of respect from her bro. Almost matching her impressive energy level is Perea whose Angel goes from being on the “make” into a crusader for “truth” as he sets aside his greed to sound an alarm. Then there’s Wincott’s Holtz with his old-fashioned cyncical surly machismo putting out an “old school” filmmaker vibe in the Huston/Ford/Fuller heritage of getting the shot no matter what, pursuing the glory rather than the gold. Now he may look tad hokey in his classic cowboy attire, but Yeun brings a sense of pathos to the tale as he masks his traumatic past with a grin and a “y’all”. With the Heywoods he takes off the stetson and reveals the scared kid still pushed down to his spurs. Aside from these talented actors, there are many interesting almost-cameos from horror/SF vet David to a certain prime-time soap “vixen” from the 80s.
Oh, Kaluuya’s director, none other than the superb comic performer Jordan Peele, who also wrote this sci-fi horror-western hybrid. After taking an extra year off, no doubt due to the pandemic (GET OUT in 2017, US in 2019) he’s returned with a twisted story full of doom and dread, generating a smothering sense of unease almost from the first strange prologue flashback. But unlike his breakthrough hit, this effort feels a bit unfocused as we struggle to get into the script’s “stop and start’ pacing as it fiddles with the “timeline” and the sound mix makes the dialogue quite murky (perhaps going for the Howard hawks vocal overlapping). Still, there are powerful sequences keeping us on the edge of our seat along with a nice satirical self-aware tone (he explores the stand-up comedy quips about how characters of color wouldn’t be as eager to put themselves in danger as others in monster movies, hence “Nope” is uttered many times in the scary scenes). Actually, the sitcom scandal subplot would be worthy of its own film or at least an unnerving segement of Peele’s “Twilight Zone” reboot. Much time is spent on the planning for the final showdown, but (gotta’ be vague here) what has been “established” veers away into weird bursts of some pretty terrific specail effects. Much of the film is engaging and unnerving, but its last act spins its wheels and becomes tedious. I’ll take Peele’s first flick over this, but it’s more coherent than US and that;s the least negative apprasal of NOPE.
Whether it’s a modern alien invasion or a meet-and-greet, movie goers have been fascinated and lured into theaters by images of UFO’s and their visitors.
E.T. the Extra-terrestrial, which hit theaters 40 years ago on June 11, 1982 , and the earlier Close Encounters of the Third Kind, gave moviegoers nicer versions and visions of first contact with friendly alien visitors – coincidentally both scores were from Oscar-winning composer John Williams – while A QUIET PLACE, THE THING and SIGNS were foreboding and cautionary tales of aliens wiping out all of mankind.
Famed physicist Stephen Hawking warned:
“Such advanced aliens would perhaps become nomads, looking to conquer and colonize whatever planets they could reach,” Hawking said in 2010 on an episode of “Into the Universe with Stephen Hawking,” a TV show that aired on the Discovery Channel. “If so, it makes sense for them to exploit each new planet for material to build more spaceships so they could move on. Who knows what the limits would be?”
Hawking voiced his fears at the Breakthrough event, saying, “We don’t know much about aliens, but we know about humans. If you look at history, contact between humans and less intelligent organisms have often been disastrous from https://justfucklocal.com/ their point of view, and encounters between civilizations with advanced versus primitive technologies have gone badly for the less advanced. A civilization reading one of our messages could be billions of years ahead of us. If so, they will be vastly more powerful, and may not see us as any more valuable than we see bacteria.”
In a recent interview with the AP Peele was asked:
AP: How much were you thinking about “Close Encounters of the Third Kind”?
Peele: Yeah, “Close Encounters” is something I think about a lot, as is “Signs” by M. Night Shyamalan. These are big-vision directors who have taken flying saucers and science fiction and have brought magic to the way they told those stories. I wanted to toss my hat in the ring to one of my favorite subgenres, in UFOs, and do it in a way only I can.
Peele: I was. It made it very real, very much in the moment. It’s one of the reasons, I guess, I can proudly say this movie is based on a true story. But what was most nerve-wracking or scary to me about the whole thing is that you’d like to think that when actual video proof of UFOs comes out that something would change in our lifestyle, not it’s really business as usual. It just proves that there is a desensitization to spectacle. We’re addicted and we’re in over our heads with this addiction. We have proof of UFOs or UAPs (unidentified aerial phenomena), but the interest with the major public goes so far. It’s very interesting.
Jordan Peele has created with NOPE the “great American UFO story” and a spectacle that people would have to come to the movie theater to see. (video). Winner for Original Screenplay for “Get Out” at the 90th Oscars, Peele reimagines the summer movie with a new pop nightmare: the expansive horror epic, NOPE. The film reunites Peele with Oscar® winner Daniel Kaluuya (Get Out, Judas and the Black Messiah), who is joined by Keke Palmer (Hustlers, Alice) and Oscar® nominee Steven Yeun (Minari, Okja) as residents in a lonely gulch of inland California who bear witness to an uncanny and chilling discovery.
In the wake of the success of Get Out and Us, both of which disrupted and redefined the horror genre in singular ways, Peele has expanded his cinematic canvas, embraced a challenge unlike any in his filmmaking career so far and tackled the granddaddy of genre movies: the summer event film.
Writer/producer/director Jordan Peele on the set of Nope.
“I had this idea of making the Great American UFO movie — a flying saucer horror film,” Peele says. “And not only a flying saucer horror film, but really, the quintessential one.” Whatever you think NOPE is going to be as you enter the theater, you’re in for more than a few surprises where you’ll never look up at the sky in the same way ever again.
“I’m hopeful that people will look at clouds after this movie the way they looked at the surface of the ocean in Jaws,” says Peele.
WAMG offers up a list of alien invasion thrills for readers to check out before or even after you see NOPE, in theaters and IMAX, Friday, July 22.
CLOVERFIELD series
The popular series of CLOVERFIELD movies, which started with Matt Reeves’ 2008 Cloverfield, was a huge hit and a surprise to movie goers when the first teaser hit audiences prior to TRANSFORMERS screenings with images of the head of the Statue of Liberty hurtling toward unsuspecting New York City party goers. Just like it’s documentary, hand-held predecessor, the subsequent two films (Dan Trachtenberg’s 10 CLOVERFIELD LANE and Julius Onah‘s CLOVERFIELD PARADOX) were released to unaware audiences with fake production titles and a surprise debut on Superbowl Sunday with a trailer and announcement that the third film would air at the conclusion of the big game on Netflix. The mysterious Cloverfield universe, known as “Cloververse” featured monsters, both above in the skies and below in underground bunkers, that no one could escape from.
Streaming now on HBO Max and Netflix.
A QUIET PLACE series
John Krasinski did in Hollywood the almost unthinkable. The actor/director brought audiences an unique, new and horrifying movie going experience. The intimate story of one family trying to survive on their farm as the filmmaker’s A Quiet Place turned silence into the building blocks of fright and forged from the horror-thriller genre a modern fable of family love, communication and survival. With its mix of relentless tension and layered storytelling about a tight knit clan fending off an immensely destructive, sound attuned alien force, the film became a startling hit and cultural phenomenon. After the incredible reception for the first film, a series and franchise of humans VS “death angels” were born.
In PART 2, which picks up right where the first one ends, following the deadly events at home, the Abbott family must now face the terrors of the outside world as they continue their fight for survival in silence. Forced to venture into the unknown, they quickly realize that the creatures that hunt by sound are not the only threats that lurk beyond the sand path.
Both films are now streaming on Paramount Plus and Prime Video.
EARTH VS THE FLYING SAUCERS
Aliens are everywhere, and they’re attacking planet Earth in one of Ray Harryhausen’s most amazing stop-motion sci-fi classics. Dr. Russell Marvin (Hugh Marlowe) works for Operation Skyhook, a government task force sending rockets into space to probe for future space flights. But when the rockets begin mysteriously disappearing, Dr. Marvin investigates along with his wife Carol (Joan Taylor), only to find the rockets are being intercepted by an army of space aliens who give humanity an ultimatum: Loyalty or death! As the aliens begin attacking cities and landmarks across the Earth – including an unforgettable assault on Washington, D.C – its up to Dr.Marvin and his wife to figure out how to stop these diabolical creatures before its too late.
SIGNS
From writer/director M. Night Shyamalan, comes the story of the Hess family in Bucks County, Pennsylvania, who wake up one morning to find a 500-foot crop circle in their backyard. Graham Hess (Mel Gibson) and his family are told extraterrestrials are responsible for the sign in their field. They watch, with growing dread, the news of crop circles being found all over the world. SIGNS is the emotional and intimate story of one family on one farm as they encounter the terrifying last moments of life as the world is being invaded. Night’s film is ultimately a story of faith that drives home the tagline “there are no coincidences.”
IT CAME FROM OUTER SPACE
Amateur astronomer John Putnam (Richard Carlson) and his fiancée Ellen Fields (Barbara Rush) are stargazing in the desert when a spaceship bursts from the sky and crashes to the ground. Just before a landslide buries the ship, a mysterious creature emerges and disappears into the darkness. Of course, when he tells his story to the sheriff (Charles Drake), John is branded a crackpot; but before long, strange things begin to happen, and the tide of disbelief turns…Based on a story by acclaimed writer Ray Bradbury, “It Came From Outer Space” is a science fiction classic that is as thought-provoking and tantalizing today as it was when it first “landed” on the sliver screen.
UNDER THE SKIN
From visionary director Jonathan Glazer (SEXY BEAST, BIRTH) comes a stunning career transformation, a masterpiece of existential science fiction that journeys to the heart of what it means to be human, extraterrestrial — or something in between.
A voluptuous woman of unknown origin, okay an alien, (Scarlett Johansson) combs the highways in search of isolated or forsaken men, luring this succession of lost souls into an otherworldly lair. They are seduced, stripped of their humanity, and never heard from again. Johansson adjusts to life in new human skin, struggling to make sense of a world that is entirely foreign to her as her alien perspective melds with a human one. “It was a kind of metamorphosis, but there was also something metaphysical about playing this character,” Johansson explains. “It’s hard to put your finger on it and that was part of its appeal for me. This is not a genre movie. It’s more along the lines of an Ingmar Bergman drama in terms of its philosophical inquiry.” Based on the novel by Michel Faber (The Crimson Petal and the White), UNDER THE SKIN examines human experience from the perspective of an unforgettable heroine who grows too comfortable in her borrowed skin, until she is abducted into humanity with devastating results.
Streaming free on Pluto TV, Tubi, Crackle and VUDU
SKYLINE
Strange lights descend on the city of Los Angeles, drawing people outside like moths to a flame, where an extraterrestrial force threatens to swallow the entire human population off the face of the Earth. The great reveal at the end to director Liam O’Donnell’s sci-fi meet up with the aliens is that the hero, Jarrod, becomes one when his brain, glowing red instead of the usual aliens’ blue, is inserted into a new alien body thus defending his pregnant wife. SKYLINE was followed by two sequels, Beyond Skyline (2017) starring Frank Grillo and Skylines (2020) and fans were delighted in December 2020 when writer/director O’Donnell announced plans to continue the series, with plans to bring back the featured cast.
Skyline is playing on STARZ with a subscription; Beyond Skyline and Skylines (2020) are streaming on Netflix.
WAR OF THE WORLDS (1953)
Gene Barry (TV’s Bat Masterson) and Ann Robinson (TV’s Fury) are among the humans intrigued when a meteor-like object crashes to Earth … but its occupants are definitely not friendly. The assault on Earth is underway, and the Martian machines — hovering “swan”-shaped vehicles of destruction — are both beautiful and terrifying as they cut a relentless path of annihilation.
WAR OF THE WORLDS (2005)
Equally, if not more, frightening is director Steven Spielberg’s new take on the sci-fi classic. A contemporary retelling of H.G.Wells’ classic, the sci-fi thriller reveals the extraordinary battle for the future of humankind through the eyes of one American family. Fleeing from an extraterrestrial army of killer Tripods that annihilate everything in their path, Ray Ferrier (Cruise) races to keep his family safe. Features another terrific score from John Williams along with scenes of horrifying disaster from cinematographer and frequent Spielberg collaborator Janusz Kamiński.
Staying with the theme of original and equally as good if not better, is THE THING FROM ANOTHER WORLD and THE THING.
In Howard Hawkes’ version, a UFO crashes near an isolated military base in the far Arctic. Scientists recover the craft’s now-frozen alien pilot and take it back to their base. While debating whether to study the alien, try to communicate with it or kill it, the pilot awakens–and the scientists’ question of if it is friend or foe is quickly answered.Now, trapped in a frozen wasteland with an unstoppable, nonhuman creature that sees them as prey, the small band of scientists come face to face with The Thing.
Celebrating its 40th anniversary, the remake by horror-master, John Carpenter (Halloween, Escape from New York) teamed Kurt Russell’s outstanding performance with incredible visuals to build this chilling version of the classic THE THING. In the winter of 1982, a twelve-man research team at a remote Antarctic research station discovers an alien buried in the snow for over 100,000 years. Once unfrozen, the form-changing alien wreaks havoc, creates terror and becomes one of them. Over the decades it has become a cult classic and still sees much debate on which of the two remaining characters, Kurt Russell or Keith David, were The Thing.
Witness the end of civilization unfold as hostile alien invaders attack the planet. As people everywhere watch the world’s great cities fall, Los Angeles becomes the last stand for mankind in a battle no one expected. Now it’s up to a Marine staff sergeant (Aaron Eckhart) and his platoon to draw a line in the sand as they take on an enemy unlike any they’ve ever encountered in Jonathan Liebesman’s epic sci-fi action film.
An alien race, undefeatable by any existing military unit, has launched a relentless attack on Earth, and Major William Cage (Tom Cruise) finds himself dropped into a suicide mission. Killed within minutes, Cage is thrown into a time loop, forced to live out the same brutal combat over and over, fighting and dying again and again. Training alongside warrior Rita Vrataski (Emily Blunt), his skills slowly evolve, and each battle moves them one step closer to defeating the enemy in this fun action thriller.
BATTLESHIP
“They were here for one purpose… conquest.” Hey its an alien invasion movie so it had to make the list. An international naval coalition becomes the world’s last hope for survival as they engage a hostile alien force in Peter Berg’s BATTLESHIP. Think Saturday afternoon matinee filled with a killer soundtrack, lots of blowup explosions, out of this world VFX and the fact the film cast actual wounded veteran Greg Gadson as one of its heroes along with Vets who fought on a real battleship – the USS Missouri – during World War II.
THIS SUMMER, EXPERIENCE THE CINEMATIC EVENT FROM OSCAR WINNER JORDAN PEELE. UNIVERSAL PICTURES PROUDLY PRESENTS DANIEL KALUUYA, KEKE PALMER, MICHAEL WINCOTT, BRANDON PEREA AND STEVEN YEUN IN NOPE. IN THEATERS JULY 22.
Rated R for language throughout and some violence/bloody images.
Oscar® winner Jordan Peele disrupted and redefined modern horror with Get Out and then Us. Now, he reimagines the summer movie with a new pop nightmare: the expansive horror epic, Nope.
The film reunites Peele with Oscar® winner Daniel Kaluuya (Get Out, Judas and the Black Messiah), who is joined by Keke Palmer (Hustlers, Alice) and Oscar® nominee Steven Yeun (Minari, Okja) as residents in a lonely gulch of inland California who bear witness to an uncanny and chilling discovery.
Nope, which co-stars Michael Wincott (Hitchcock, Westworld) and Brandon Perea (The OA, American Insurrection), is written and directed by Jordan Peele and is produced by Ian Cooper (Us, Candyman) and Jordan Peele for Monkeypaw Productions. The film will be released by Universal Pictures worldwide.
Moviegoers are looking forward to Jordan Peele’s upcoming mystery spectacle NOPE. Recently the cast and director sat down with Fandango to discuss the movie and Peele hopes the audience reactions inside the theater is… NOPE!
NOPE will be in Theaters July 22.
As part of Universal Pictures marketing of the film, head over to “Jupiter’s Claim” viral site that says: “While you’re here, don’t forget to collect your Jupe Jangle for the most revealing attraction: The Winkin’ Well—where every conceivable wish could come true.” Steven Yeun plays Ricky “Jupe” Park
Plus, viewers can get a postcard and leave a note in the guestbook, which happens to be signed by characters, Armitage, Rose and Wilson, from Peele’s US and GET OUT films, but you’ll have to wait until the screen darkens for the reveal.
“What’s a bad miracle?”
Oscar® winner Jordan Peele disrupted and redefined modern horror with GET OUT and then US. Now, he reimagines the summer movie with a new pop nightmare: the expansive horror epic, NOPE.
The film reunites Peele with Oscar® winner Daniel Kaluuya (Get Out, Judas and the Black Messiah), who is joined by Keke Palmer (Hustlers, Alice) and Oscar® nominee Steven Yeun (Minari, Okja) as residents in a lonely gulch of inland California who bear witness to an uncanny and chilling discovery.
Nope, which co-stars Michael Wincott (Hitchcock, Westworld) and Brandon Perea (The OA, American Insurrection), is written and directed by Jordan Peele and is produced by Ian Cooper (Us, Candyman) and Jordan Peele for Monkeypaw Productions. The film will be released by Universal Pictures worldwide.
“Everyday of this shoot, we were making something new and special… something that is a testament to why I love movies. And I’ll be talking about these days we made this movie forever” – Jordan Peele
Watch and listen to what the below-the-line crew has to say about working with filmmaker Jordan Peele on his mysterious upcoming cinematic event, NOPE. Assistant directors, make-up artists, cinematographers, camera operators, production designers, production assistants… these passionate artists are the lifeblood to the success of such films.
Filmed in IMAX, check out the new featurette and see NOPE in theaters On July 22.
Oscar® winner Jordan Peele disrupted and redefined modern horror with Get Out and then Us. Now, he reimagines the summer movie with a new pop nightmare: the expansive horror epic, Nope.
The film reunites Peele with Oscar® winner Daniel Kaluuya (Get Out, Judas and the Black Messiah), who is joined by Keke Palmer (Hustlers, Alice) and Oscar® nominee Steven Yeun (Minari, Okja) as residents in a lonely gulch of inland California who bear witness to an uncanny and chilling discovery.
Nope, which co-stars Michael Wincott (Hitchcock, Westworld) and Brandon Perea (The OA, American Insurrection), is written and directed by Jordan Peele and is produced by Ian Cooper (Us, Candyman) and Jordan Peele for Monkeypaw Productions. The film will be released by Universal Pictures worldwide.
