THIS isn’t your typical musical biopic as it takes a slow and introspective but raw look at Bruce Springsteen’s personal and professional struggles during the creation of his 1982 album Nebraska.
Written and directed by Scott Cooper (Crazy Heart), it is based on Warren Zane’s 2023 non-fiction book Deliver Me From Nowhere, and is driven by a powerhouse performance by Jeremy Allen White who had to learn how to sing, and play both guitar and harmonica to portray Springsteen.
It focuses on just 1982 when The Boss was at a crossroads, and instead of chasing hit records he decided to record a dark and deeply personal, uncommercial album on a four-track recorder in a bedroom of a rented house in Colts Neck, New Jersey. He presented the cassette to his friend and manager John Landau (a phenomenal Jeremy Strong) and asked that it be released as it sounded, and without any press or tour to publicise it. What is astounding is how Landau supported his client and fought to achieve all his stipulations — something that wouldn’t happen today.
This drama also examines his battle with mental health issues, his depression and the onset of a breakdown. Also, it explores his strained relationship with his father (a superb Stephen Graham) who was an alcoholic, and bipolar. There are flashbacks to his childhood, all shot in black and white, in which he is terrified of his dad who is drunk and belligerent.
This is an insightful and thought-provoking study of Nebraska, and this legendary artist, and even ardent Springsteen fans will learn something new.
MD
In cinemas October 24
IBSEN purists may not be impressed by this provocative, gender-swapping and sumptuously shot reimagining of his renowned play Hedda Gabler written and directed by Nia DaCosta.
Relocating the story to 1950s England it stars a dazzling Tessa Thompson as the manipulative and ambitious Hedda who throws a lavish party at her country estate and will do whatever it takes to maintain her extravagant married lifestyle, status and freedom. Unfolding over a charged night she encounters her ex-lover Eileen Lovborg (Nina Hoss), who in the original play was male, and is a serious threat to her husband’s shot at promotion. There is also Eileen’s devoted assistant and lover Thea (Imogen Poots) who aims to keep her off the booze and not make a fool of herself.
Packed with sexual tension, political machinations and devious ploys to thwart Eileen it is hard to keep up with the slick and stylish fast paced action and devilish plots.
MD
In cinemas October 24 and on Prime Video October 29
SET in 1970s Massachusetts, a rudderless and hapless father of two masterminds an art heist which goes awry in this slow burning and bizarre drama from writer-director Kelly Reichardt.
Josh O’Connor is superb as an ordinary guy who enlists a motley crew to help him steal four abstract paintings by American artist Arthur Dove from a small local art museum in broad daylight.
James Blaine Mooney (O’Connor), an unemployed carpenter, is oblivious to what is going on around him and the state of the US, which has been torn apart by the Vietnam War. He turns to his generous mother (Hope Davies) for financial help, pretending it is for a new contract.
He ends up going on the run in this masterfully crafted drama by Reichardt, which unfolds at a laconic pace but ends on a genius and priceless note.
MD
In cinemas October 24
FROM the director of The Fault In Our Stars, Josh Boone, comes a romantic drama which explores loss, finding forgiveness and overcoming grief through the strained relationship between a young mother (Allison Williams) and her teenage daughter (McKenna Grace), whose lives are crushed by a tragic event.
It is based on Colleen Hoover’s bestselling novel Regretting You, and while it is a faithful adaptation it doesn’t quite get the tone right. The film is so cheesy in places it had people at my screening howling with laughter. That is despite the sterling cast, which also includes Dave Franco, Mason Thames and Scott Eastwood, pulling out all the stops to make it work.
While the book is a page turner the film isn’t, although Grace and Thames are captivating to watch.
