Originally published to 8 News Now on December 10, 2024.

Few filmmakers capture grit and texture like James Mangold. Known for crafting evocative, emotionally resonant films such as Logan (2017) and Walk the Line (2005), Mangold excels at embedding viewers in the world of his stories. His latest effort, A Complete Unknown, brings this skill to a biopic of music legend Bob Dylan, aiming to transport viewers into the revolutionary spirit of the 1960s. While visually captivating and technically brilliant, the film stumbles in delivering an emotionally engaging narrative to match its ambitious scope.

From its opening frames, A Complete Unknown immerses the audience in Dylan’s world with period-authentic precision. The collaboration between Mangold and cinematographer Phedon Papamichael results in a film that looks and feels like it belongs to the 1960s. Set photos have shown the filmmakers using Sony Venice cameras, so while the image is digital, Mangold and Papamichael obviously took great care in emulating the grain and texture of film, and paired with the use of anamorphic lenses, the visuals pulsate with historical energy. From the costumes to the meticulously crafted sets, the film radiates authenticity. However, as dazzling as these visuals are, they can only take the movie so far when the story struggles to find its rhythm.

The narrative follows Dylan’s rise as a folk music icon, but unlike Mangold’s previous musician biopic Walk the Line, it lacks the narrative propulsion that made Johnny Cash’s story so gripping. Dylan’s life on screen feels more like a series of scattered vignettes than a cohesive journey. The film attempts to capture the enigmatic and detached nature of Dylan himself, but this approach results in a story that often feels emotionally distant. As a result, A Complete Unknown struggles to sustain its momentum over a lengthy 141-minute runtime, leaving viewers longing for a stronger connection to the characters and their arcs.

Speaking of which, Mangold had the opportunity to do the funniest thing imaginable by creating a “Mangold Musician Biopic Shared Universe.” The character of Johnny Cash plays a part in A Complete Unknown, which left open an opportunity to bring back Joaquin Phoenix to reprise his role as the Man in Black from Walk The Line, creating the ultimate ’60s biopic music cinematic universe. Unfortunately, whether it’s because they couldn’t talk Phoenix into it, or maybe because simply no one thought of it, it didn’t happen here. Boyd Holbrook plays Cash, and while he is well suited to the role, it feels like there might have been an opportunity left on the table.

The remainder of the cast is solid, with varying degrees of greatness. Edward Norton’s transformation into folk singer-songwriter Pete Seeger is one of the film’s highlights. The always-solid Dan Fogler portrays Albert Grossman in a small but standout performance.

While Timothée Chalamet’s portrayal of Dylan captures his voice and mannerisms, the role limits the actor’s ability to convey the icon’s inner world. Dylan’s reserved persona means Chalamet often mimics rather than inhabits the character, leaving his performance feeling surface-level despite its technical accuracy. Supporting characters, such as Elle Fanning as Sylvie Russo and Monica Barbaro as Joan Baez, are similarly underserved by the screenplay, leaving their relationships with Dylan feeling thin and underexplored.

In the end, A Complete Unknown leaves viewers with mixed impressions. It’s a beautifully crafted homage to one of music’s most influential figures, but its lack of narrative focus and emotional depth prevents it from achieving the same heights as Walk the Line. For fans of Dylan and aficionados of meticulously designed period pieces, the film will undoubtedly have its moments of brilliance. For others, it may feel like a beautifully wrapped package that’s frustratingly light on substance.