NYFF Review: ‘Nickel Boys’ Features a Bold Narrative Style That Ultimately Does Not Work

I will never begrudge a filmmaker taking a bold new approach to their material. Doing something different is often a way to break cinematic ground and establish yourself as an auteur to watch. Now, there’s also the possibility that the boldness will backfire and the movie will suffer as a result. Unfortunately, there’s a prime example of this in Nickel Boys. Playing as the Opening Night selection at the New York Film Festival, it wound up a disappointing and frustrating experience.

Nickel Boys did not work for me at all. In making the story essentially done in first person, you’re robbed of so much. The bold filmmaking approach is undeniably distinctive, but I found that it prevented the story from displaying almost any of its power. That leaves the film far hollower and less emotional than intended. What’s left is a movie that’s little more than an exercise, though it aspires to something far greater than that.

Based on the Colson Whitehead novel of the same name, we meet Elwood Curtis (Ethan Herisse), a bright young boy in 1960s Florida. Living with his grandmother Hattie (Aunjanue Ellis-Taylor), he’s a good kid. A teacher sees the potential in Elwood and recommends him for early college classes. On the way to his first day there, he gets accidentally involved in a criminal activity. Despite being an innocent bystander, he’s sentenced to do time at the cruel Nickel Academy.

It’s at Nickel Academy that he meets Turner (Brandon Wilson) with whom he forms a strong friendship. They see the world in two very different ways, but they see each other. Together, they’ll do their best to survive their time there, even as other young men aren’t as lucky. In the 2000’s, an older Elwood (Daveed Diggs) sees the abuses of the academy finally coming to light, reminding him of his days there.

The filmmaking style really keeps us from ever fully embracing these characters. Ethan Herisse is our protagonist exclusively for the first half, though in the second half, when Elwood meets Turner, they repeatedly switch perspectives. Still, Herisse, as well as Brandon Wilson, are unable to completely showcase their talents. The exception, because she’s actually having her face on the screen is Aunjanue Ellis-Taylor, who really shines in one particular scene. Sadly, Daveed Diggs is mostly wasted, while other supporting players include Jimmie Fails, Fred Hechinger, Hamish Linklater, and more.

Co-writer/director RaMell Ross initially seems to be finding a new way to handle somewhat old-fashioned material. Along with co-writer Joslyn Barnes, Ross’ adaptation of Whitehead’s work is sparse, with dialogue at a premium. However, it’s what Ross does as a director that you’ll either love or hate. Early on, it’s evoking Terrence Malick, mostly for better as opposed to worse, but once the perspective shifts happen, it becomes frustrating. It’s a shame, too, since Ross has some really nice shots here, courtesy of cinematographer Jomo Fray.

Nickel Boys might work better for you than it did for me, but the style on display just didn’t work in the slightest for yours truly. NYFF is going to be showcasing a lot of distinctive works this year, and while I’m sure this will be one of the most distinctive flicks in the lineup, I hope it’s an outlier in terms of quality. For me, this one just left me high and dry. Alas.

SCORE: ★★1/2