The most brutal and wild twist of recent horror films is “No.”


define as ambivalent NotNew film Jordan Peelgreat revelation of the horror genre in its most commercial sense since let me out D Us, lacks. Based on the iconography of the iconographic Meetings in the third phase from Spielberg, Peel here tells a story of sightings and alien abductions in which he omits but only superficially (rather hides a bit) his already typical racial denunciation component to present an odd hybrid between B-series sci-fi and “blockbuster” Horror. .

The result generates, as I said, conflicting feelings. Very, very opposite. On the one hand, the risk is highly valued, the intention to bring a new idea to the franchise era, to rethink the cinematic past (in this case, the transcendent legacy of the first Spielberg and everything that came together in it) and also to introduce new characteristics and points of view on classic genres. Hopefully eventually more movies like Not in the mediocre commercial landscape of big studios in 2022.

In the film, two young brothers (Daniel Kaaluya and Keke Palmer), heirs to a horse ranch after their father’s death and residents of a remote town in the interior of California, make an unusual and chilling discovery: something is “stealing its animals and causing various strange phenomena in the environment.

But it’s only literal, and that’s the problem Jordan Peel. Critical encouragement and a constant search for metaphor as the narrative engine turns. Not in a disappointing, even failed film, as if Peel wanted to play in Shyamalan’s “plot twist” league (and it must be admitted that Shyamalan Not fascinates), tell it in the key of Denis Villeneuve in Arrival (but badly) to, in the end, and through a hilarious, insane, tiring and terrifying twist, to indulge in the debauchery of a charming horror artifact… that honors far more than Meetings in the third phaseto Spielberg’s other mythic horror (and to Universal’s B-series of desert horror, released in 1990 and spawned the franchise), which we’d better keep to ourselves so we don’t spoil the story….

Right, Not This is one of those films that you should watch without even seeing the trailer. His clever advertising campaign, at least in part, allows for an experience that will captivate some viewers and distrust others. What is undeniable, other than Peel’s overblown claims, when confronted with what is, after all, a story that fits perfectly into a certain genre, is his reflection on the image that spills over into looking for the “impossible shot” that Michael Wincott’s character (the only target in the film, if I’m not mistaken) is taken as if it were an imitation of a fish that Robert Shaw’s famous Quint wants to catch.

This, apart from being poetic, also betrays Peel as an elegant creator of tension (the scene with the chimpanzee) and absolutely enduring shots in memory (the blood dripping farm of the protagonists, a tribute to the haunted house movies, or that first look inside the artifact from the point of view of the “stolen” ), as well as – beware – a director capable of considering sound design like few others. The fact that all this stands out among the narrative inconsistencies and shortcomings generated by the director’s choice is the business of each viewer, but it is there, in the pure field of visual ideas, that the author’s symbolic-allegorical procedure really works. one hundred one hundred.

It’s a pity, therefore, that the ego of Jordan Peele, the director with the most brilliant baptism and the loudest applause remembered in the genre since M. Night Shyamalan premiered Sixth SenseI made him a camouflage signs, Indian director, from Arrival de Villeneuve, and perhaps he failed to create a truly memorable show. An experience Not there is, of course, a movie that tries not to be labeled but in that quest sabotages itself, being unsuccessful but also exciting, disappointing but successful (despite itself, in what seems to be the least important to Peel) for certain horrifying moments: how great it is to make the kidnapping a horrific fact again and, above all, that memorable change of Spielberg jacket that occurs in the middle of his footage…much more than his reflections on the role of blacks in the plumbing of that factory of dreams and nightmares that is Hollywood. Flour from another sack and that Peel dabbles after a great Us because precisely, perhaps, the errors of the film this time are in a different place.

Nop opens in theaters on Thursday, August 18th.



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