Movie Review

Bob Dylan biopic A Complete Unknown tells an Oscar-worthy tale

Timothée Chalamet in A Complete Unknown.

Photo courtesy of Searchlight Pictures

Music biopics never seem to go out of style, although they’re rarely very good because most of them tend to tell the same story. A musician/band gets discovered, rises to popularity, experiences trouble at their peak due to (insert sex/drugs/alcohol/ego), and either finds a measure of redemption once they’ve been sufficiently humbled or dies due to their lack of control.

Paradoxically, what few music biopics fail to do is properly showcase the music that made the person popular in the first place, a mistake that A Complete Unknown doesn’t repeat, becoming a smashing success in the process. The film follows Bob Dylan (Timothée Chalamet) over a roughly four-year period from when he first arrived in New York City in 1961 to his then-revolutionary electric set at the Newport Folk Festival in 1965.

Dylan seeks out well-known folk singers Pete Seeger (Edward Norton) and an ailing Woody Guthrie (Scoot McNairy) when he first arrives, with Seeger taking him under his wing. Dylan starts to establish himself in the local club scene with his unique songwriting voice, meeting fellow singer Joan Baez (Monica Barbaro), with whom he starts an on-and-off relationship. As his popularity grows, his reaction is antithetical to what’s expected, as he rarely engages with fans and focuses on his next song(s) instead of the ones for which he became known.

Directed by James Mangold (Walk the Line) and written by Mangold and Jay Cocks, the film may not be much of a revelation for Dylan superfans, but for casual fans or those who know nothing about him, it is one of the most effective music biopics in recent memory, if not ever. Not only does Mangold track the musical evolution of Dylan, but he gives the full context of the people who influenced him most, including Guthrie, Seeger, Baez, and more.

The film is not a musical in the traditional sense, but the amount of music in it makes it the next best thing. Rarely does more than a few minutes go by before someone is singing, either on stage, for someone close to them, or as part of the songwriting process. Whether you’re a folk music fan or not, the way the genre is showcased in the film will make you believe in its power and why it was so popular at that particular point in time.

Dylan is famous for his enigmatic personality, and Mangold does a great job of maintaining that elusiveness while still exploring what drove Dylan early in his career. His relationships with Baez and the fictional Sylvie Russo (Elle Fanning) give him some dimension, but why he continually went back-and-forth between them (or why they put up with him) is only lightly explored. The film keeps most of the drama focused on the music, and it’s this decision that makes it as compelling as it is.

Chalamet has been “The Next Big Thing” since his Oscar nomination for Call Me By Your Name, but the combination of the Dune series, Wonka, and now this has firmly established him as the star he is. His Dylan impersonation (including singing) is subtle-yet-clear, and he has the cool factor that makes him completely believable in the role. The supporting cast is also off-the-charts good, with Norton and Barbaro making the best cases for awards notice.

While 2024 has had its fair share of great movies, A Complete Unknown — in this critic’s opinion — should now be the favorite to win Best Picture at next year’s Oscars. It bucks the trend of mediocre music biopics by giving moviegoers the transporting feeling of what it was like to experience Dylan’s meteoric rise, and why his early songs remain so indelible.

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A Complete Unknown opens in theaters on December 25.

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Movie Review

Jessica Chastain gets in a tangled love story in new drama Dreams

Photo courtesy of Teorema

Isaac Hernández and Jessica Chastain in Dreams.

The opening scenes of the new drama Dreams are bracing, fictional sequences that call to mind real-life scenarios. In them, a young Mexican man named Fernando (Isaac Hernández) goes through a somewhat harrowing journey from the back of a semi truck in South Texas all the way to San Francisco. It’s a familiar immigrant story that seems to set the stage for a film with something interesting to say.

It turns out, however, that Fernando has not made the long and arduous trek for a job. Instead, it’s to be with Jennifer McCarthy (Jessica Chastain), a rich woman who helps lead a foundation dedicated to multiple things, including funding dance academies. Fernando, a talented dancer, and Jennifer have been in an off-and-on affair for years, with Jennifer wanting to keep their relationship a secret.

Although both are drawn to each other in an inexplicable, lustful way, their bond is tenuous, with each of them dissatisfied for different reasons. Fernando clearly sacrifices much more of himself than Jennifer, who wants for nothing except maybe more affection from her father, Michael (Marshall Bell), and brother, Jake (Rupert Friend).

Writer/director Michel Franco seems to try to inject tension into Fernando and Jennifer’s relationship from the start, an attempt that is only halfway successful. It’s clear from the way they greet each other - not to mention a steamy sex scene shortly thereafter - that they have known each other for a good length of time. Franco is able to get across this familiarity with an economy of scenes, and the intensity of their bond holds for a while.

But as the film progresses and both of them grow disenchanted with their arrangement, Franco starts taking the story in some odd directions. The biggest issue is that it’s never clear at what point in time the story is taking place. Fernando ends up making multiple trips back and forth across the border, with Jennifer doing the same at one point, and Franco’s use of flashbacks muddies the waters, wrong-footing the audience when he should be trying to draw them further into Fernando and Jennifer’s complications.

Revelations in the final act make the story even more confusing, as both main characters start saying and doing harsh things that seem to come out of nowhere. That would be all well and good if Franco actually committed to their changes of heart, but he keeps things wishy-washy for most of the final 15 minutes, resulting in an ending that makes little sense for either character.

Despite the story issues, both Chastain and Hernández give compelling performances. Chastain has been a little under the radar since winning an Oscar for The Eyes of Tammy Faye, but she keeps this character interesting longer than it should have been. Hernández has limited credits and appears to have been cast for his dancing ability, but he goes toe-to-toe with Chastain on more than one occasion and acquits himself well.

Dreams had all of the ideas to explore a more in-depth story about the complicated immigration policies between Mexico and the U.S., or how wealthy people take advantage of those less fortunate. But Franco never finds the right footing, settling instead for a titillating and somewhat mystifying relationship story that feels half-baked.

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Dreams is now playing in select theaters.

movies film

Movie Review

Bob Dylan biopic A Complete Unknown tells an Oscar-worthy tale

Movie Review

Jessica Chastain gets in a tangled love story in new drama Dreams

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