There's little in contemporary movies quite like the arrival of a new Jordan Peele film. They tend to descend ominously and mysteriously, a little like an unknown object from above that casts an expanding, darkening shadow the closer it comes.
“Nope,” the writer-director's third film, is nearly here. After Peele's singular debut, “Get Out,” about the possession of Black bodies and the fallacy of post-racial America, and his follow-up, “Us,” a monstrous tale of doppelgangers and societal mirrors, the closely-kept-under-wraps “Nope” brings a new set of horrors and unsettling metaphors. For Peele, who writes through shooting and considers the conversation generated by a movie one of its main ingredients, “Nope” is far from a finished project.
