ScreenFish

where faith and film are intertwined

Steven Yeun

Nope: Devouring the Hollywood Dream

by Leave a Comment

No matter how good your work may be, you will always be judged by your greatest achievement.

Such is the case with filmmaker Jordan Peele. Having established himself with the gold standard of modern day, elevated horror with 2017‘s Get Out, Jordan Peele quickly became the hottest genre director in recent years. Comparisons to Alfred Hitchcock and other greats have been well-earned for his work as he continues to provide exciting horror entries that speak to the black cultural experience in the modern era. The problem is, of course, is maintaining the accolades. 

While his follow-up films and projects have proven to be incredibly well-executed and intricate puzzle boxes worth unlocking, they are inevitably going to be compared to the film that sent a shock through the system. (In some cases, one can compare Peele’s current career trajectory to that of M. Night Shyamalan who, after crashing through the door with The Sixth Sense, has found it difficult to escape from the legacy of that first film.) Now, with the release of Nope, Peele again has created a solid piece that entertains and challenges his audience. 

But, as unfair as it is to say, it’s simply not as good as Get Out. 

Nope tells the story of OJ and Emerald (Daniel Kaluuya and Keke Palmer), two Hollywood horse-trainers who live a quiet life in the desert of Agua Dulce in California. Having inherited the family business from their deceased father, the siblings have found the business to have fallen on hard times. Forced to sell off their horses gradually to Ricky (Steven Yeun), a local owner of a theme park, the two ponder what will become of their homestead. However, when they encounter a mysterious ship in the sky, the two join forces to get footage of this otherworldly encounter as a way to make their mark on history.

Leading the film may be solid performances by recent Oscar winner Kaluuya and Yeun but, unquestionably, Nope feels like a star-vehicle for Keke Palmer. Bounding around the screen with endless energy, Palmer is the fire cracker that lights the fuse of Nope and keeps it burning. There is simply an energy and enthusiasm about her performance that one can’t help but be drawn towards. Hers is a character that is not only often funny but frequently, the strongest voice of reason as well, creating a character that it feels more than an amalgamation of a collection of horror tropes.

In a lot of ways, Nope is a more intricate film than Peele’s previous two efforts as it makes use of its metaphors far more subtly than its predecessors. Whereas Get Out and Us had a clear, social conscience, Nope feels much more like a large-scale, popcorn flick. Certainly, this is not a problem… Except for those nasty expectations that have been established already for Peele’s work. Unfortunately, for many, this left Nope to be seen by many as more confusing film, despite the high praise from critics (mostly) across the board.

Although Nope works as an entertaining and fairly straightforward piece, it also feels like there’s something more to be discovered within it. Even without the clear social impetus of Peele’s other films, it’s relevant, sharply written, and entertaining and its own right. Set on the outskirts of Hollywood, Nope is an scathing look at our obsession with fame and notoriety. In an influencer-driven culture such as this, everyone seems to have an interest in cashing in their chips in the Hollywood game. OJ and Emerald fight tirelessly to unlock the mystery of the skies, not out of the sense of wonder, but out of a desire to catch their ‘Oprah moment’. Despite the trauma that he experienced in his youth, Ricky builds a shrine to his legacy within his office while Holst yearns to leave his mark with the ‘perfect shot’. (Even the fact that Kaluuya’s character is named ‘OJ’ brings to mind the infamous ‘Trial of the Century’ of the mid-90s.) 

In this film, everyone is fighting for their five minutes of fame as they look for their chance at immortality. But, even though Nope celebrates the Hollywood dream, it also cuts against it as well. Characters such as Ricky have been left scarred by their experiences with fame but still they clamour for it. In this way, dreams of stardom are seen to come at a price (even a deadly one). 

On the disc, features are surprisingly sparse for such a large release. As a result, there are few episodes to get excited about, generally. (Although ‘Call Him Jean Jacket’ has a surprising level of depth into the design and sound design for the creature itself.) Nevertheless, it’s also worth noting that the film looks stunning in its 4K release as the film’s visuals absolutely pop on the television screen. Although the film is meant to feel immersive on the big screen, the colour and scope translate well at home. In each scene, the dryness of the desert or (apparent) serenity of the sky look stunning, drawing the viewer into film’s scope. (“We wanted the sky to feel like the water in Jaws,” Peele’s team notes.)

But, no. If Get Out is the standard, Nope doesn’t make the grade. But, sometimes, the brass ring simply can’t be the expectation. On it’s own, Nope is a highly entertaining ride that’s worth saying yes to, even if it doesn’t match the standard of Peele’s best work.

Get Out is available on 4K, Blu-ray, DVD and Digital on Tuesday, October 25th, 2022.

Nope: Say Yes to Nope

by Leave a Comment

Jordan Peele has come to dominate the comedic horror genre. 

Bursting out of the gate with Get Out and Us, Peele has established himself as one of the great voices of this generation. Now, with the release of Nope, Peele continues his trend of creating original and inventive sci-fi horror that subverts them our expectations with thought-provoking surprises. 

Set on a vast secluded desert range in California, Nope tells the story of OJ and Emerald Haywood (Daniel Kaluuya and Keke Palmer). After their father is killed in a freak accident, the two siblings are left to deal with the horses that they train for use in Hollywood films. However, mysterious things keep happening on the ranch. The power goes out, horses go missing, and debris falls from the sky. However, when the OJ and Emerald suspect that there’s an unidentified flying object in the sky, they become determined to get photographic evidence of this alien ship and prove to the world that there are life forms that are Not On Planet Earth.

Anchored by a tremendous cast, Nope is more than just pure spectacle. Featuring solid work from Steven Yeun, Michael Wincott and Brandon Perea, the film feels almost plausible due to the strength of their work. Nevertheless, the best performances comes from Kaluuya and Palmer. Having worked together on Get Out, Peele understands how to bring out the best in Kaluuya and that is certainly the case here. As the heavily burdened OJ, Kaluuya brings a confidence to the role that grounds the film. However, at the same time, Palmer absolutely shines as well, bringing a liveliness on screen that contrasts Kaluuya’s gravitas. 

Classic sci-fi films often identify aliens as technologically-advanced sophisticated beings and, without spoilers, Peele brings his own unique spin to the genre. In this way, Nope is also a great love letter to old school Hollywood filmmaking, and acknowledges the role of the black community within that space. However, while both Get Out and Us have contained messages about social injustice within the Black community, Nope takes a slightly different approach. By using sci-fi tropes as his backdrop, Peele creates a film which both celebrates and satirizes our obsession with celebrity culture.

Although their family has been involved in Hollywood for generations, the Haywood family remains relatively unknown in the world of movie-making. When they realize that footage of the potential invaders could bring them mega-stardom, OJ and Emerald fight to get the perfect shot, risking their lives in the process. (After all, this is their chance to get on Oprah.) In fact, everyone in Nope seems to wants their shot at glory. Clinging to his time as a child star, Ricky proudly reminds people of his former fame and accomplishments. Hollywood director Antlers Hoist (Michael Wincott) wants to leave his mark on the industry which has relegated him to commercials. Even minimum wage tech-employee Angel can’t help but look for something more. 

But, as Hoist reminds, the fame isn’t always worth it. And it comes at a cost.

Whether it’s Ricky’s tragedy on set or the endless stream of casualties at the hands of their alien attackers, those who choose to stare too deeply into the eyes of fame find out first-hand how quickly things can go sideways. Coming at a time when celebrities fall from grace on a daily basis, Nope highlights how easy it can become to broken by the sheer carnage around us. While the film doesn’t entirely demonize those who have done wrong—look for the ‘fist bump’—it does remind us of the danger of toxic celebrity. Allegations, scandal and controversies on social media dominate the news cycle, creating a proverbial dark cloud over the industry. (Note that Peele even named his main character ‘OJ’.) These shadows can weigh heavily on us, especially if we spend too much time focusing on upon them.

The more you stare into the abyss, the higher chance there is of you getting sucked into it.

With even film, Peele continues to show that he understands what it takes to elevate sci-fi horror beyond thrills and chills. While the film is slightly more difficult to decode than his previous efforts, there’s no doubt that Nopeis another win for the director. Fueled by fun and fury, the film provides all the necessary scares but also provides solid social commentary through sharp writing.

In other words, Nope is worth saying yes to.

Nope is available in theatres on July 22nd, 2022.

7.12 Making Home in MINARI

by Leave a Comment

In Lee Isaac Chung’s Minari, a Korean American family moves to an Arkansa farm in search of the American Dream. As they struggle to start a new business, they also struggle to rebuild their lives in a new environment. This week, we welcome SF’r Shelley McVea and newcomer Seun Olowo-ake to talk about making a home and the pitfalls of ambition.

You can stream the episode on podomatic, Alexa (via Stitcher), Spotify or Amazon Podcasts! Or, you can download the ep on Apple Podcasts!

Want to continue to conversation at home?  Click the link below to download ‘Fishing for More’ — some small group questions for you to bring to those in your area.

7.12 MinariDownload

Minari: What is This Place?

by Leave a Comment

“What is this place?  Our new home.”

Set in rural America in the 1980’s, Minari tells the story of a young Korean couple forging a new life in a new place.  A new home.  Produced by American companies A24 and Plan B Entertainment, the film reflects award winning director and writer Isaac Chung’s childhood on a small farm in Arkansas. Minari invites us to accompany the film’s protagonists and their children as they move from urban California to a totally new landscape. The new life they encounter is sometimes unsettling, sometimes hilarious, and always bone-tiring. It paints a picture of the life of so many of our fellow travellers as they leave less than perfect situations for what they hope will be life changing situations.  

The journey from urban to rural is often a difficult transition. “What is this place” is a real question and provides the movie with a potent motif.  Will this be a place to provide a living and happiness?  Will it be a place of beauty and grace, or only a temporary stop to an even better living?  Will our children be at home and accepted here?  How will Grandma survive, newly arrived from Korea? Will the farm be close enough to the hospital if young David need surgery?  Jacob and Monica come to different conclusions on many of these questions and their divergent views put a strain on their tiny family.

The divide is not simply between rural and urban, however.  The jobs that were so taxing in the city (chicken sexing) follow them to the country.  The divide between traditional and new also colours their decisions and discussions.  Jacob and Monica had vowed in Korea that they would come to America “and save each other”.  But has this happened?  The gap between aspiration and reality seems only to widen as the movie progresses.  

There is usually a crisis point in most lives, and in most movies too. When this happens in Minari, loyalties must be selected and decisions made.  The choice of family or farm – running or walking – grandma staying or going -must finally be made from the heart.

This film would be simply a sweet and time honoured immigrant story if it were not for the bright humour as well as the genuineness of the script.  In the hands of such skilled actors the words come alive and stay with us.  Kudos too to the exquisite musical score.  At times haunting, at times disjionted, at times lilting; it too reflects the immigrants’ experience.  Minari is visually appealing as well. The countryside is filled with lush beauty.  It acts as a compelling character in the story.  And in the final analysis it provides the ground in which the non-native plant – the Minari – can thrive and grow and bring sustenance to all.

Minari is now available on VOD.

Minari: Hope in the Dry Heat

by Leave a Comment

Set in rural Arkansas, Minari tells the story of Jacob (Steven Yeun) and Monica (Yeri Han) Yi, a Korean American couple in search of the American Dream. Travelling with their two young children, Jacob purchases a farm with the intent of growing Korean vegetables and selling them to vendors for profit. However, as the realities of starting a new business begin to surface, the Yi’s struggles to make ends meet and they must make some tough decisions about how they intend to survive as a family.

Written and directed by Lee Isaac Chung (Abigail Harm), Minari is a beautiful, honest and often funny film that sheds much needed light on the immigrant experience and the biases that they face along the way. Though the story is fictional, this is a film that feels real. Told with honesty and love, Chung weaves a narrative that tells the story of one family at a specific place and time but also sheds light on the immigrant experiences of many others. As strangers in a strange land, The Yi family are in desperate need of support but remain unable to find what they need. In an effort to depict this struggle visually, Chung effectively bleaches the film with a dry colour palette, bringing to life the barrenness that the Yi family is experiencing both as farmers and as a family. What’s more, without giving any spoilers, Chung continues to use this dryness and heat thematically throughout the course of the film as tensions mount between the family until they finally erupt.

As frustrated father Jacob, Yeun’s stellar performance drives the narrative with his passion and ambition. To counterbalance her husband’s determination, Yeri Han provides much of the emotional grounding of the film as the loving but exhausted Monica. Whether they’re pulling apart or spending intimate moments together, Yeun and Han have incredible onscreen chemistry together, giving the film a feeling of honesty and authenticity. While their relationship may anchor the film, Minari features solid work from its entire cast, including youngsters Noel Cho and Alan S. Kim who bring an innocence and energy that light up the screen.)

In many ways, Minari exposes the fragility of the so-called American Dream. Having moved to Arkansas to build their farm, the Yi family believes that it’s only a matter of time before they find success in this ‘land of opportunity’. However, it soon becomes clear that Jacob’s dreams for his family seem naïve held up against the realities that they face. From unexpected delays in their shipments to blatant racial inequality, Jacob and Monica begin to crumble under the pressures of achieving their goals. For Jacob, his dreams of becoming successful become all consuming. For Monica, they seem a distant pipe dream. Although they have been led to believe that the world would fall at their feet with hard work and determination, they soon come face to face with the toxic realities of poverty and racism that prevent them from realizing their ambitions. 

As an honest depiction of the immigrant experience, Minari is a film about what it takes to [literally] plant roots for the future, even when the soil is hard to manage. Taking its title from the resiliency of minari seeds, the film explores what it truly means to find success when financial windfall seems impossible. For the Yi family, hard work and sacrifice may be embedded in who they are yet to what end? Faced with circumstances stacked against them, Jacob and Monica’s struggle forces them to re-examine their priorities. In doing so, the couple has the opportunity to discover what it means to experience hope in a dry season of life.

However, even though the film focuses on the struggles they face, there’s a sense of joy embedded within the film, even in the darkest of moments. Moving and heartwarming, Minari recognizes that true success lies not what we value but in who we value (and who values us). Just as families can fight to survive, they too also experience moments of levity in the midst of their struggle. What’s more, these brief glimpses of joy can often reignite the sparks that seem to have been extinguished by life’s burdens so long ago. As a result, while the Yi family may have moved away from the place where they once lived, moments like these become the foundation for their true home wherever they may be. 

Though the story of the Yi family may be fictional, Minari serves as a reminder that the struggles inherent to the immigrant experience are real. Set in the scorching Arkansas heat, Chung’s story speaks to immense challenges faced by those who wish to begin a new chapter of their lives, especially when they cling to a Dream that never really existed. Even so, despite the tensions that may erupt, Chung imbues his film with an endearing sense of hope. Sparked by joy in one another, Minari never forgets that home begins and ends with those we love.

Minari is available in theatres and on PVOD in the US on Friday, February 12th, 2021