A Complete Unknown: Let’s Talk

This so-called biopic barely felt like a biopic at all—by the time the credits rolled, Bob Dylan remained as much of an enigma as he was at the start. Instead of exploring his roots, motivations, or personal struggles, the film simply paraded his performances through the years, showcasing his relentless ambition to conquer the folk scene and his attempts to reinvent it.

I still can’t wrap my head around why the Screen Actors Guild handed out a Best Actor award for this performance. It felt less like a truly immersive transformation and more like an off-screen narrative hyped up by the industry machine—another case of rewarding "hard work" over an actually compelling portrayal. Honestly, it reminded me of when Leonardo DiCaprio finally won for The Revenant—not for his best work, but for enduring the most hardship.

At its core, this was pure Oscar bait, dressed up with forced emotional beats that failed to resonate. The film tried to frame Dylan’s music against the backdrop of major historical events—the Vietnam War, the Cold War—through scattered TV snippets, as if that alone could inject depth. Yet, the portrayal of Dylan himself seemed utterly detached from these events, making those inserts feel more like set dressing than meaningful context.

As a biopic, this was a letdown. As a music film, it was good. If you're looking for something that actually captures the essence of folk music with soul and sincerity, skip this and watch Inside Llewyn Davis.

This so-called biopic barely felt like a biopic at all—by the time the credits rolled, Bob Dylan remained as much of an enigma as he was at the start. Instead of exploring his roots, motivations, or personal struggles, the film simply paraded his performances through the years, showcasing his relentless ambition to conquer the folk scene and his attempts to reinvent it.

I still can’t wrap my head around why the Screen Actors Guild handed out a Best Actor award for this performance. It felt less like a truly immersive transformation and more like an off-screen narrative hyped up by the industry machine—another case of rewarding "hard work" over an actually compelling portrayal. Honestly, it reminded me of when Leonardo DiCaprio finally won for The Revenant—not for his best work, but for enduring the most hardship.

At its core, this was pure Oscar bait, dressed up with forced emotional beats that failed to resonate. The film tried to frame Dylan’s music against the backdrop of major historical events—the Vietnam War, the Cold War—through scattered TV snippets, as if that alone could inject depth. Yet, the portrayal of Dylan himself seemed utterly detached from these events, making those inserts feel more like set dressing than meaningful context.

As a biopic, this was a letdown. As a music film, it was good. If you're looking for something that actually captures the essence of folk music with soul and sincerity, skip this and watch Inside Llewyn Davis.