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I do like a music based film, and I'm old enough to know and like Bob. I think Timothy is good, but previously so young looking I struggled with some of his roles. Here he grows up. Bob Dylan is a great part for him, and he plays him well, maturing physically and as an actor.

The film seemed a little "clean" and in the midst of the mid 60's onward, drugs seem to be limited to cigarettes! Even Bob himself has talked about drugs issues related to opioids and psychedelics, so it did seem an important admission, maybe related to Bob still being with us.

However still an entertaining biopic with great music which was the focus (as it should bet) for the Nobel prize winning icon.

Driving home from the cinema happily singing along to Bob which clearly had the desired effect. 7/10.

There was one weakness in this film that made inferior to Inside Llewyn Davis; it lacked authenticity. How odd that a completely fictional character like Llewyn Davis had the feel of the real Bob Dylan, and the Bob Dylan film did not.

I lived through this era personally. I loved this music as it started, and evolved from 1961 to the present day. I remember strolling through the Village feeling more alive than at any other time of my life. I went to the early shows of Bob Dylan, and thought he was a genius.

This film, however, does not match Inside Llewyn Davis for catching that sense of genius. It is very slick, and well done, but just not as authentic.

The writer-director, James Mangold, does a magnificent job of capturing the atmosphere of the 1960s with great authenticity. His inclusion of the Cuban Missile Crisis and the Kennedy Assassination mirror the anxiety of the times.

The lead actor, TImothee Chalamet, does an outstanding job as Dylan. He is amply supported by a powerhouse cast led by Edward Norton.

The story about Dylan's arrival in the Village in the early 60s was done well.

The cinematography and set designs are letter-perfect; but something was missing. Believability.

Honestly I had very low expectations for "a complete unknown". Making a biopic about a person that's still alive, and such a specific and unique person as Bob Dylan had to have looked like nothing other than a caricature. But somehow Timothee transformed and became Dylan so organically and so effortlessly. The period of time when Dylan was in his early twenties, when the world was getting acquainted with him as well as he was with his own self was done well. I appreciated the humor in the script, our audience got in a few genuine laughs throughout the 2 hour run.

Monica Barbaro playing Joan was a breath of fresh air! I hope she gets the praise she deserves for this and more opportunities in the future.

Elle Fanning was a slightly disappointing choice for a character based on Suze Rotolo who according to Bob was this breathtaking and striking woman. I didn't feel like Elle did her best work, she was too much Elle Fanning.

However my favorite part must have been Edward Norton as Pete Seeger. I am unfamiliar with the real Pete Seeger so I cannot compare but Edward Norton did a fantastic job in the film.

I will not likely see this film again, but walking out of the theater I had a nice aftertaste of the honor to legacy that Bob Dylan will leave (and already has) in this world. Timmy deserves an Oscar nomination and recognition for this role. I'm very curious to compare this to the Bruce Springsteen biopic with Jeremy Allen White when it comes out.

I loved A Complete Unknown. To me, it is a story of lost innocence-a modern fall from Eden. Dylan's relentless chase for what he thinks will make him happy only highlights his longing for what he has already lost. The problem is, he doesn't know who he is. His evolving relationships mirror the changes in his music, and by the end, he seems to realize that whatever he's become, he regrets some of his choices because there's no going back.

And the soundtrack? Absolutely killer-every track perfectly captures Dylan's transformation and inner conflict, making the film an unforgettable theater experience.

In the Bob Dylan biopic "A Complete Unknown," Director/Co-Writer James Mangold ignores many of the conventions associated with this genre, tropes he treated more respectfully in "Walk the Line" and "Ford v. Ferrari." Mangold's non-traditional approach gives him the flexibility to effectively address his decidedly non-traditional subject.

This film is a fascinating mix of fact, outright fabrication, fantasy and supposition. It's a chaotic mixture endorsed by Dylan, who has had his own on-again/off-again relationship with the truth. Dylan once said, "Truth was the last thing on my mind, and even if there was such a thing, I didn't want it in my house." This film is stronger because of the liberties it takes. It mashes together characters and events. It jumbles events with no regard for chronological order. It's as comfortable including events that "might have happened" or "should have happened" as it is faithfully retelling events that are well-documented. It's all in keeping with Dylan's penchant for "self-mythologizing."

"A Complete Unknown" explores the period from 1961-1965, when Dylan (Timothée Chalamet) moves to NYC from Minnesota, meets Woody Guthrie (Scoot McNairy) and Pete Seeger (Edward Norton), becomes part of the folk scene in Greenwich Village, encounters Joan Baez (Monica Barbaro) and has a relationship with Sylvie (Elle Fanning), an artist/activist whose beliefs motivate him to perform at the 1963 March on Washington and to pen "A Hard Rain's A-Gonna Fall" during the Cuban Missile Crisis. This period culminates with Dylan and his band performing with electric, not acoustic, instruments at the Newport Folk Festival in 1965, a controversial event many heralded as the bridge between traditional folk and rock music. Along the way, we see how he deals with his sudden fame, a development as unwanted as it was unexpected.

What distinguishes this film is the acting. All the performers do their own singing. Chalamet is outstanding as Dylan. He does a reasonable depiction of Dylan on stage, but that's the least impressive part of his performance. An eggplant could impersonate Dylan because of his unique singing style. What makes Chalamet's performance so noteworthy is his ability to portray a man who is distant, aloof, driven, uncaring, enigmatic and determinedly self-absorbed - embracing all those negative traits while exuding a charisma that keeps the moviegoer fixated, despite his character being unlikeable in so many ways.

Edward Norton is excellent as stolid, workmanlike singer and banjo player Pete Seeger. Norton's performance demands that we acknowledge Seeger's sense of fundamental decency. Boyd Holbrook has too few appearances as Dylan pen pal and friend Johnny Cash. In the film, Cash encourages Dylan's rebellious instincts, telling him to "go track some mud on somebody's carpet. Make some noise, big D." But the most impressive performance is by Monica Barbaro (the female pilot in 2022's "Top Gun: Maverick) as Joan Baez. With no formal training as a singer or musician, Barbaro prepared for a year for this role. Here, she shows off her strong, clear soprano while portraying a singer whose voice has been described as "incomparable."

The content included in (and omitted from) "A Complete Unknown" is sure to inspire debate and disagreement. I'm confident Director Mangold and the subject of the film wouldn't have it any other way.