Jeff Nichols

The Bikeriders: Mad Packs, Fury Rode

Jeremy BeckReviews
Tom Hardy and Austin Butler in The Bikeriders

Early in his career, the writer-director Jeff Nichols developed a reputation for making movies that felt unlike the work of anyone else. The paranoid thriller Take Shelter, the noirish coming-of-age story Mud, the science-fiction parable Midnight Special—none of these was exceptional, but they all toyed with genre expectations in a manner that made them feel gratifyingly unusual. That changed with Loving, a well-intentioned docudrama that was tender, intelligent, and disappointingly ordinary. Nichols’ latest picture, The Bikeriders, continues this regression toward normalcy in a peculiar way, less by occupying a familiar template than by imitating a specific filmmaker—namely, Martin Scorsese. This movie could easily have been called “Goodfellas: Easy Rider edition.”

There are worse touchstones to copy. Cinematically speaking, The Bikeriders may not venture too far off road, but it at least zooms forward with confidence and texture. It also acquires a sense of melancholy—an elegiac wistfulness—that is both genuinely touching and somewhat dubious. Read More

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Loving: Found Guilty for Finding Love

Jeremy BeckReviews
Joel Edgerton and Ruth Negga as a real-life couple in "Loving"

Loving is a very pleasant American movie about a very unpleasant time in American history. It tells a story of adversity, perseverance, and ultimate triumph, and it proceeds in a rigorous straight line, with minimal eccentricity or embellishment. This is perhaps to be expected, given that Loving belongs to a specific subgenre: the earnest and well-meaning docudrama. But it is also something of a surprise, given that its writer and director is Jeff Nichols, whose previous films (Take Shelter, Mud, Midnight Special) were largely off-kilter and opaque. Nichols tends to focus on odd protagonists—a delusional laborer, a wandering gangster, an alien boy—but even more central to his filmmaking are his disdain for convention and his gift for unpredictability. Yet anyone with access to Wikipedia could comfortably predict how Loving will play out.

This does not make it bad. On the contrary, it can be satisfying to watch a familiar story unfold on screen, particularly when it is well-told and well-acted. And of course, the movie’s theme—that stoic decency can defeat senseless bigotry—is a worthy one, equally relevant now as when the events of the film took place. Still, the challenge for Nichols is to make Loving stimulating as a piece of cinema as well as a lesson in history. Given his meat-and-potatoes approach to this material, it’s a marvel that he even half-succeeds. Read More

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Midnight Special: Bright-Eyed Boy, Phone Home

Jeremy BeckReviews
Jaeden Lieberher and Michael Shannon in "Midnight Special"

Alton Meyer is a strange boy. His nature and purpose are a subject of fierce dispute—some view him as the messiah, others as a danger—but there is no disputing his oddness. He has visions. He speaks in tongues. He has a knack for randomly uttering classified government information. And every so often, beams of bright blue light emanate from his eyes. This is not your typical eight-year-old.

And Midnight Special, the fourth film from writer-director Jeff Nichols, is not your typical movie. Exactly what it is, however, is harder to determine. Is it a science-fiction thriller? A magical fairytale? A parable of governmental interference? An admonition of cultish groupthink? Midnight Special carries hints of all of these, and its fractured, enigmatic identity is both tantalizing and, ultimately, dissatisfying. Its pieces are all strong—solid acting, impressive craft, moments of raw power—but it is so resistant to coherence that those pieces just sit in isolation, never coalescing into a compelling whole. It refuses to conform and ends up just being formless. Read More

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