Writer/director RaMell Ross, after delivering the 2018 Oscar-nominated documentary Hale County This Morning, This Evening, takes on his first fiction feature with Nickel Boys. With it, Ross further explores black perspective through deeply heartfelt narratives that are paired with incredible performances and an unmatched vision for storytelling.
The film adapts Colson Whitehead’s 2019 novel of the same name to tell the story of Elwood (Ethan Herisse) and Turner (Brandon Wilson). These two African-American boys meet at a segregated, abusive reform school Nickel Academy during the Jim Crow era in Florida. Together, they attempt to survive the school’s harsh atmosphere, and corruption that constantly targets them. What’s instantly striking about Nickel Boys is Ross’ ability to film almost entirely in first-person. Outside of some flash-forwards that are shot through an over the shoulder, third-person POV, pretty much every scene is shown directly through the eyes of either Elwood or Turner.
Ross, with this viewpoint, creates a sense of immersion unlike anything we’ve seen before. Every sense heightens, and Nickel Boys ends up being a technical masterclass. There’s a palpable sense of touch audiences will feel when they see characters hug one another or graze their hands across surfaces. Jomo Fray’s incredible cinematography literally comes to life – letting viewers feel the warm sunlight or cold darkness right from their seats. Plus, the sound design reaches such strong peaks. All the words and noises these characters hear are funneled right into your own ears. You feel the weight of every interaction so much more and it enhances the richness of the film’s themes and perspective immensely. First-person is the perfect force multiplier for this narrative as it elevates every aspect of the experience Ross expertly crafts.
From the very beginning, Ross weaves historical and personal threads that highlight black perspective and build out the atmosphere well. You’re thrown right into the heat of ’60s racial turmoil and the growing influence of Martin Luther King Jr. on civil rights. Through Elwood’s eyes, you get a first-hand look at what being a part of this pivotal turning point is like. From the crushing realities of racial profiling to a slow-building hope stemming from Elwood’s peers, Ross gives viewers a taste of what being black in America is like and it sadly remains relevant today. Even as Elwood arrives at Nickel Academy, it’s clear that the school is a microcosm of the world outside its walls. Nickel Boys quickly becomes a necessary and compelling story on perspective and race that’s further fleshed out as Elwood and Turner meet.
Despite them being so young, Elwood and Turner have this strong perception of themselves and the world that’s deeply fascinating. The debates they have about whether legitimate change is possible or if they’re relegated to a predetermined fate as young black men are vastly engrossing. It’s thematic dialogue that leaves a lasting impact, feels timely, and comes off very personal because Herisse and Wilson’s performances are so moving. Their dynamic is full of pure heart and soul, and you really connect with their unflinching ability to stand by each other through thick and thin. Outside of Ross’ direction, the raw power of Nickel Boys stems from Herisse and Wilson and they should be must-talk names for their breakout work here.
Now, not every part of Ross’ storytelling vision works as well as the use of first-person. Ross embeds archive footage from films like The Defiant Ones and news coverage to aid the themes. While it’s a nice way for Ross’ documentary backbone to enter the film and touch on the real-life inspirations of Whitehead’s novel, the direct impact of them in the story doesn’t always feel present. Also, while his use of third-person camerawork looks amazing and features a sneaky great performance from Daveed Diggs, these scenes struggle to feel connected as well. There’s definitely a good thematic thread about trauma lingering for years, even decades later in life. But these scenes often break the momentum of the story, and not even an interesting twist in the perspective makes it feel totally worthwhile. Ross definitely gets a little too overzealous with his storytelling perspectives, but never loses the distinct pull of the story at hand.
Nickel Boys is the type of film that wraps itself around your heart and never lets go. Throughout every high and low, you resonate with the emotions, actions, and beliefs of its central characters. It’s a film that genuinely acts as a cathartic journey, and the more time you spend with Elwood and Turner, the harder it is to see it reach a conclusion. Yet, you’re totally hooked by the way Ross helms it all with a tender, grounded touch – never shying away from gutting tragedy or touching acts of humanity. Not to mention, his ambitious storytelling, use of perspective, and ability to spotlight standout performances elevates Nickel Boys from a clear Best Picture contender to a must-see cinematic experience. Ross reaches new heights in his filmmaking with Nickel Boys and is a deserved name to watch for the sheer talent he displays.
