Despite a relentless marketing campaign running up to its long-awaited release, Nope came and went. Sure, it endeared a good cross-section of the critically-inclined viewership (here’s my take on this movie), but it somehow failed to leave a lasting mark on general audiences, thus disappearing from the collective cultural consciousness within a span of a few short weeks, and at this point it might be a good idea to ask why that is.
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One data point is just what it is – a data point. Two data points are the minimum requirement to form a line. And for some reason it seems that quite a lot of critics and casual moviegoers alike decided that two data points are sufficient to form a trend, which is a big no-no for anyone even vaguely aware of how statistics operates as a science. So, in a way, Jordan Peele’s Nope has inadvertently fallen prey to the general public’s lack of awareness that extrapolating from small data sets is at best loaded with uncertainty and most likely completely useless. Because this movie is pretty damn solid, to say the least.
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If there’s one word that neatly summarizes the new Nia DaCosta-directed addition to the Candyman series, it is the word ‘gentrification’. But there is a subtle hint of irony baked into this assessment, which I am not entirely sure the filmmakers were completely aware of.
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Flasz On Film 