Nickel Boys has an interesting issue, its strengths and weaknesses being different sides of the same coin. One could see Colson Whitehead’s 2019 novel working as a straightforward adaptation. Director RaMell Ross leaves his unique signature, though, executing the film from a first-person perspective. As ambitious as Ross’ vision is, you may question if this approach elevates the material or sucks you out of the experience. Some will call Nickel Boys a masterstroke of filmmakers. Others will say it’s pretentious and gimmicky. I fell somewhere in between. While it’s hard not to admire Nickel Boys, it isn’t the easiest movie to love.
Ethan Herisse plays Elwood, a bright young man with a promising future. Being an African-American during the early 60s, Elwood’s future can be erased with one misstep. That sadly happens as Elwood hitches a ride with a man in a stolen vehicle. When they get pulled over, Elwood is wrongfully accused of being an accomplice. He’s sent to Nickel Academy, later known as the Florida School for Boys. Although said to be a reform school, Nickel is truly a prison where the young students/inmates (namely those of color) endure more than one type of abuse.
One of the few people who get Elwood through the days is a fellow student named Turner (Brandon Wilson). Where Elwood is compelled to take a stand against their oppressors, Turner is content with keeping his head down. As it becomes evident that the boys might not leave the academy alive – if at all – they consider staging an escape. Even if they get away, they may never escape the trauma. Herisse and Wilson are both sure to become huge names in the years to come. The underrated Aunjanue Ellis-Taylor is also wonderful as Elwood’s grandmother, whose world revolves around giving her grandson a better life. Even after throwing everything she has into freeing Elwood, it’s not enough.
The real star of Nickel Boys is Jomo Fray’s cinematography. The film shifts between the first-person perspectives of Elwood and Turner in lengthy single takes. Fray constantly has the audience wondering how they pulled off certain shots, especially when the boys look up into a mirrored ceiling. On a technical level, Fray’s work is worthy of an Oscar. At the same time, the cinematography can create a disconnect between the characters and the viewer. As we change POVs, we often find ourselves asking who is in the driver’s seat.
It’s clear what Ross is trying to do, demonstrating how Elwood and Turner could have been any of the boys at Nickel Academy. By attempting to make the journey more immersive, though, the first-person approach can also be a distraction. It doesn’t take us out of the movie entirely, however.  The powerful performances and genuinely striking imagery amount to a slow, meditative exploration of injustice, friendship, and life. For some, Nickel Boys may be too experimental for its own good. Like The Zone of Interest, though, the film ultimately leaves an impact with its big swing.