That Jay Heywood (Daniel Kaluuya) Strangely, the father dies: a coin suddenly falling from the sky pierces his head, among other small garbage. After that, He Jay and his sister Emerald (Keke Palmer) take over the family business. Their company, Haywood Hollywood Horses, has been breeding and training horses for film productions for decades. The Heywoods are said to be descendants of Edward Muybridge’s famous timeline black jockey, so they believe the OJ and Emerald families have been in the movie business since the beginning.
But things are not going so well for HHH now: There are few orders, real animals are being replaced by computer graphics. Desperate, OJ starts selling horses to entertainer Rikk “Jupe” Park. (Stephen Young)The person who runs an amusement park near the Haywood farm. And before long, things take a turn for the worse: at night the horses run away from the stables and disappear, nightmarish, inhuman voices are often heard, the electricity goes out. As OJ and Emerald begin to guess at the true nature of what’s going on, they realize that the horrors unfolding around the farm can both rectify the Heywoods’ plight and elevate them around the world. The main thing is to capture everything on camera.
Frame from the movie “No” (2022)
Universal Pictures
Jordan Peele, who until recently was considered a good American television comedian (along with Keegan-Michael Kay) and became one of the leading horror directors a few years ago and one of the pioneers of African-American cinema, rose rapidly. it’s the status of a movie about cinema, as if it were put to all directors who aim at the imaginary intersection of art and mainstream. In our case, with an obvious advantage in favor of the mainstream: Unlike his colleagues Ari Astaire and Robert Eggers, who were assigned to independent studio A24, Peel went to the Universal major facilities from the start. And “No” is his most studio, blockbuster work. But from this, it was not castrated and produced.
It turns out that Pilovsky’s “Once Upon a Time … in Hollywood” (a film about the cinema) and Pilov’s “Jaws” are obtained immediately – not so much due to the peculiar intersection of the plot and the stuffing of the blockbuster (this term is almost invented was done). “Jaws”) half a century ago), but only because the director here is starting to look more like Steven Spielberg than his colleague Spike Lee. Dressed in rags from a party in Mutabor, Michael Wincott’s protagonist says the famous Hollywood mantra of great cinematographer Antlers Holst, “One movie for them, one for them”, because it’s the only way people who can take impossible shots get dressed. But meanwhile, Peel is making his third movie in a row, both for them and for himself.
Frame from the movie “No” (2022)
Universal Pictures
For them, because it’s still so much fun, just as silly and hilarious as the previous Get Out and Us. The whimsical Pilovsky humor here is horror, literally flying on the wings of the night: the characters are not at all pursued by a man-eating shark, although there are “Jaws”, as here. For myself – because all the familiar tricks are in place, Kaluuya is in the lead again, no one has forgotten the Bible quotes either, the list of topics covered is endless. The first tape was about racism, the second one, but on the way still looked at the essence of human nature. Third, it seems to be about everything in the world.
So, everything listed is packed in there, and something about exploitation (by humans, by animals and humans by humans) is still stuck in place. Then comes some Lovecraftian reasoning about a person’s peculiar inability to understand things – for example, in the absence of a word for a miracle in English (in Russian, apparently), it is expressed in a skirmish. The likeness of a negative particle that one can extract from oneself in the best case: “No. No.” Well, in the appendix – worries about the future of cinema (the script was written in the midst of a pandemic) turn into almost senile grunts – at some point, the movie is pushing analog to digital, analog gains of course.
Frame from the movie “No” (2022)
Universal Pictures
What is the conclusion: “No” – yes, cinema is for them (in our sense) and for them (in his sense). But also for no one (in every sense). Because in advance it’s hard to imagine that the group OK Go needed a two-hour clip for the song “Clouds are horses with white manes”, turned into horror (this is the maximum that can be said without going spoilers). ). And in the end, it is not clear how we lived without it.
Source: Gazeta
Dolores Johnson is a voice of reason at “Social Bites”. As an opinion writer, she provides her readers with insightful commentary on the most pressing issues of the day. With her well-informed perspectives and clear writing style, Dolores helps readers navigate the complex world of news and politics, providing a balanced and thoughtful view on the most important topics of the moment.