NICKEL BOYS is one of the underdog Best Picture nominees, one of the indies that doesn’t get that much discussion outside of film critic circles, definitely not seen as a frontrunner, but happy to be nominated. I was planning to see it anyway based on the effusive praise I’d seen, but the nomination gave me an extra push to see it on the big screen, so that’s a nice thing about the Oscars.
I was also able to see it pretty much blind. I did see a trailer before another movie a few days earlier, but that actually didn’t make it very clear what it was about. It did make me wonder if it was going to be told in first person perspective, which does turn out to be the case. Most of the time the camera represents what the main character Elwood Curtis is seeing. So, you know, it’s kind of like the classy version of HARDCORE HENRY or the MANIAC remake. There’s also a section where the camera follows behind the character’s head, like a video game (or IN A VIOLENT NATURE). Director of photography Jomo Fray (ALL DIRT ROADS TASTE OF SALT) shoots it both cleverly and beautifully. It’s kind of the same category as I’M STILL HERE: some beauty and nostalgia in a story about resilience in the face of horrible atrocities. But leaning heavier on the latter this time, and using the former to make it all the more eerie what we know is going on here. (read the rest of this shit…)
BLINDSPOTTING follows 
