In the arid Santa Clarita Valley outside of Los Angeles, siblings OJ (Daniel Kaluuya) and Emerald Haywood (Keke Palmer) run a horse ranch. The ranch is an inheritance from her father, legendary trainer Otis Haywood Sr. (Keith David), who died in a strange and unexplained “metallic rain”. The ranch in the valley is anything but “g’mahte Oktoberfest” for the brothers, who, despite their hard work, soon face financial problems. It even gets to the point where the brothers consider selling the ranch to the nearby Jupiter’s Claim amusement park – and thus abandoning their father’s legacy.
The sale would be practical: the amusement park, which dates back to California’s gold rush history, is in close proximity to Haywoods. It’s run by former Hollywood child star Ricky “Jupe” Park (Steven Yeun), who also wants to use the park to escape his past traumas.
Cult director after all
two feature films
So much for the exhibition of Jordan Peele’s new film ‘No’. After only two feature films namely ‘Get Out’ and ‘We’, Peele’s films are events that otherwise only directors like Quentin Tarantino or Wes Anderson can manage. The name Peele is already part of the film concept and marketing – this is already clear in the trailer, where the name can be read across the screen.
Now of course comes the spice that makes the horror thriller a must-see for fans of the genre: Because OJ and Emerald begin to notice unexplained phenomena on their massive ranch – eerie noises, unexpected power outages and mysterious weather phenomena. There is this one cloud that doesn’t seem to be moving and apparently has a UFO hiding in it. Could this be it? Are the aliens still here?
Wanting clarity, the brothers hire Angel Torres (Brandon Perea), an electronics store clerk, and filmmaker Antlers Holst (Michael Wincott) to film and solve the phenomenon. But in doing so, everyone involved is crossing a line they’d rather not have touched. There is a chance to escape from this UFO, which will soon become clear: you must not look. I wish it was that easy…
In any case, Jordan Peele likes to put a lot of false leads on “No.” Anyone who thinks the film only wanders down the trashy but well-trodden paths of cheap sci-fi UFO invasion products from the 70s is wrong, because Peele serves up a truly wonderful, multi-twisted and turned puzzle in the form of a puzzle. for which the content prefers not to lose too many words so as not to spoil the fun of the cinema.
Bleeding monkeys and metal falling from the sky
A few keywords are enough: For example, a monkey covered in blood in a sitcom setting, small, metallic objects that fall from the sky and can even kill living beings. Or the way people attack here. When Jaws came from below in Spielberg, the aliens now rush at their victims in a similar fashion, only from above.
In general, Jordan Peele seems to have liked Steven Spielberg’s role model, because a lot of “No” reminds of great moments of Spielberg, especially in terms of visuals and analysis of dramatic scenes Spielberg was obviously the godfather and also those with dialogues which are loaded with sharp gags and humor and one or the other huge inconsistency with which the audience is left behind are also well known from Spielberg’s classics. The fact that Peele never loses track of all his threads until the finale and never hopelessly confuses the audience as a result makes the director a gifted craftsman of drama. But because Peele doesn’t just want to be a spectacle director like JJ Abrams, he also weaves social criticism into No. Watching a movie with a social purpose has never been more enjoyable, provided the screen size is right.