Nickel Boys

I enjoyed the artistic stylings of the cinematography. They were as much a part of the story as the plot and characters.

This was hard to watch mostly becausse of the unfortunate truths it portrayed.

Injustice is never an easy thing to swallow. At least for me.

This movie is definitely worth watching if only to inform yourself about the darkness of our past.

But at a 2:20 runtime, it felt somewhat tedious.

I get that the long runtime was meant to correspond to the long suffering of african americans and the lengthy civil rights struggle, but ultimately, it's message suffered for it.

Its poignant story might've been better served as quick, aggressive and brutal. Rather than as the slow and painstaking story it told.

Despite all the issues I ended up having with it, I do admired Nickel Boys for delivering a unique experience that doesn't feel like something I've seen in any other movie. It's a very stylistic movie that attempts to tell an important story in an interesting way but unfortunately the story telling method didn't work for me overall. I very much not a fan of POV shots in movies since I find them so distracting and unnatural so filming an entire movie in that way was something I found to be extremely frustrating. It just kept me at a distance from these characters since I'm not seeing how they react during pivotal scenes. Instead of trying to get immersed in the experience I found myself more focused on the camera work in all the wrong ways. It's a very harrowing tale and one that understands the things we don't see on screen are all the more impactful. With it being such a disturbing story a vision that I could've actually gotten on board with would've done so much to get me wrapped up in this experience. But as it is I just found it to be a bit of a miserable watch that dragged unbelievably for me. I do admire the risks that this movie takes and more than that I see what RaMell Ross was going for. It's beautifully acted and did make me feel some genuine emotions while watching it but the main thing I felt when all is said and done is frustration.

"Nickel Boys" is a strikingly assured and ambitious debut fiction-feature from director RaMell Ross. It is composed almost entirely of POV shots. This has been tried a hand-full of times before in film history, perhaps most famously in the '40s noir, "The Lady of the Lake", but never as intricately and effectively as it is here.

"Nickel Boys" is bi-perspectival. We experience the gazes of two different characters, Elwood and Turner, teenagers incarcerated in a Jim Crowe-era juvenile detention center that amounts to a borderline death-camp for its Black prisoners. I was struck by the similarities and differences between "Nickel Boys" and "Hunger", another overpowering work on life-in-detention. The older film is about the body to a visceral degree that few other movies have attempted and the result is a work of relentless objectivity. "Nickel Boys", by contrast, is about the effects of trauma and imprisonment on the mind and memory- a relentlessly subjective piece.

The tone is thus very different from that of most bleak prison dramas, at times almost affirmational. We're experiencing, literally seeing, the way Elwood and Turner view their conditions in ways that make their situation tolerable- largely by focusing on their friendship- each other's faces- and those of their loved ones. This is not to say that the film is artificially pleasant. One of the best scenes consists of a single long take of a conversation in a bar years after the events depicted in most of the film have taken place. It's a remarkably well staged and performed scene featuring brief but memorable work by actor Sam Malone as Percy, one of the detention center's survivors, uttering the horrors he witnessed in a tone that suggests that even years later he can barely cope with what he saw. Experiences like those inflicted on the characters perhaps cause more damage after the fact than during the actual experience when survival instinct takes over.

The bi-perspectival construction of the film also demonstrates the ways that experiences and memories are never fully constructed or belonging to any one individual. Elwood and Turner, for all of their differences, come to seem almost like one character. We start to forget, or care, about whose perspective we are viewing. These men are forging this part of their lives together- they are co-authors of each other's experience. In this sense, "Nickel Boys" is about themes larger than imprisonment and injustice. It's about the ways that time and memory enact experience, both making it palatable but in the process leaving defining scars. The film's final montage features images of cellular reality- our being recreating itself through creation and destruction even within a single lifetime.

"Nickel Boys" is not a perfect movie. Ross's previous work had been as a documentarian and the script he co-wrote with Joslyn Barnes and Colson Whitehead is characterized by some clunky, overly on-the-nose dialog. However, this makes the powerful performance of said dialog by stars Ethan Herisse, Brandon Wilson, and especially Aunjanue Ellis-Taylor as Elwood's grandmother, all the more impressive.

RaMell Ross transforms Colson Whitehead's Pulitzer-winning novel into an immersive cinematic experience that confronts systemic racism with unflinching honesty and artistic brilliance.

RaMell Ross's Nickel Boys is not a film that watches passively. It demands engagement, understanding, and empathy from its audience, much like the Pulitzer Prize-winning novel by Colson Whitehead on which it is based. Through its daring visuals and emotionally charged storytelling, Nickel Boys immerses viewers in the horrors of the fictional Nickel Academy, a reform school in 1960s Florida modeled after the real-life Dozier School for Boys.

The film follows Elwood (Ethan Herisse) and Turner (Brandon Wilson), two young Black men navigating the systemic abuse, violence, and dehumanization at Nickel Academy. Ross opts for an intimate, first-person cinematic technique with the help of director of photography Jomo Fray, ensuring the audience doesn't just watch the story but experiences it through the eyes of its protagonists. From the stolen car that seals Elwood's fate to the mirrored ceiling reflecting fleeting moments of connection, the cinematography is both haunting and poetic.

Ross doesn't shy away from discomfort. Instead, he leans into it, capturing moments of injustice with brutal authenticity. One of the film's most harrowing sequences involves a Nickel supervisor (Hamish Linklater) doling out punishment. The violence occurs off-screen, but the chilling sound of the strap and the visceral reactions of the boys leave an indelible mark. The film also uses historical references, like cutting in scenes from 1958's The Defiant Ones, to deepen the emotional resonance of Elwood and Turner's attempted prison break.

The performances are as captivating as the story. Herisse brings a quiet determination to Elwood, while Wilson's Turner is a revelation, showcasing a raw vulnerability that makes his arc unforgettable. Aunjanue Ellis-Taylor delivers a heartbreaking turn as Elwood's grandmother, Hattie, and Fred Hechinger exudes sinister menace as a trustee of the academy. In flash-forwards, Daveed Diggs portrays one of the survivors grappling with the haunting legacy of Nickel, a reminder that systemic racism's scars endure far beyond the immediate trauma.

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Ross masterfully balances artistry and substance, using his background as a photographer and documentarian (Hale County This Morning, This Evening) to craft a narrative that feels both tactile and transcendent. The visuals are stunning-orange trees swaying in the breeze, civil rights protests flickering on storefront TVs-but they never overshadow the film's thematic weight. The film dares to ask: How do you bear witness to atrocities while maintaining hope for a better future?

Ross's unique approach to storytelling is complemented by an equally daring narrative structure. The film's immersive technique places the audience directly into the emotional and physical landscapes of its characters. By shifting perspectives between Elwood and Turner, the audience is given a multi-faceted view of life at Nickel Academy-its suffocating oppression and fleeting moments of resilience. These shifting perspectives create a layered narrative that resonates on both personal and societal levels.

Some may find Ross's immersive, collage-like approach challenging, but it's precisely this audacity that makes Nickel Boys a must-watch. It's not just a film about the past but a searing indictment of a present still shaped by institutional racism in new and disturbing forms. The juxtaposition of Elwood's unyielding hope with Turner's hardened pragmatism paints a poignant picture of the different ways individuals navigate systemic oppression. This duality adds emotional depth to the story, making it both heart-wrenching and thought-provoking.

Ross also introduces moments of unexpected beauty amidst the darkness. The tactile warmth of a breeze on an orange tree, the quiet solidarity of shared meals, and the fleeting joy of stolen moments all serve as reminders of the humanity that persists even in the face of unimaginable cruelty. These moments are not mere embellishments but integral parts of the narrative, highlighting the resilience of the human spirit.

The film's climax, centered around Elwood and Turner's daring escape, is a masterclass in tension and emotional weight. The use of intercut scenes from The Defiant Ones adds a layer of meta-commentary on the history of cinematic depictions of race and resistance. The pursuit by a white trustee, portrayed with chilling menace by Fred Hechinger, serves as a stark reminder of the pervasive and relentless nature of systemic racism.

Nickel Boys is more than a movie-it's a cry for justice, a call to action, and a work of art that demands to be felt as much as seen. RaMell Ross's fearless storytelling, coupled with extraordinary performances, ensures this adaptation is both unforgettable and necessary. It challenges us to confront our shared history while offering glimmers of hope that change, however incremental, is possible.

Reviewed At Opening Night of the 62nd New York Film Festival at Alice Tully Hall on September 27, 2024.

'Nickel Boys' tries new methods in the film. The camera stays at the eye-level of young Elwood, and this is effective because it embodies the happy and cozy childhood of small Elwood. This eye-level camera movement implies that he's taken care of, given attention, and loved. That's the only good part of RaMell Ross's 'NEW methods'.

I'm now going to list all those 'fresh' approaches of the director. However, I cannot find the 'purpose' of these approaches. Why does he choose these specific tools and forms to create what effect on the audience? None of them are answered. First, screen ratio. The director chooses a 1.33:1 ratio. It rather feels stuffed, blocking a wider view. My sight is blocked the whole time. Second, lots of montage, jagged editing, and lots of quick cuts. Again, I don't know why the director chooses this way, and I'm sure his intention has failed because It feels chopped and segmented, hindering the continuity and the flow of the movie and making the ending more confusing. In addition to these editing problems, story development is slow, making things worse.