“MAKE SOME NOISE, BD”
Over the years, the dramatic efforts of biopic endeavors have been something of a cinematic fascination with Hollywood, finding filmmaking talents both in front and behind the camera flocking to be a part of these theatrical motion pictures. While the idea of creating a biographical feature film about someone and / or some event isn’t anything new, it is something that’s quite beguiling of capturing the essence / mystique of a character who is based in real life and presenting he / she for a dramatic picture. Some of these endeavors might shed light on their entire life (providing the “life and times” of a particular person), while others might focus on a particular moment and / or a significant point of their lives. Recently, Hollywood has found an interesting fascination within the music industry of famed artists; recounting the ups and downs of some of the industry most celebrated individuals that have defined an age and become legends themselves. This includes the look into the life of Freddie Mercury and the popular UK band Queen in 2018’s Bohemian Rhapsody, the “based on a true fantasy” narrative of UK icon Elton John in 2019’s Rocketman, the rise to stardom of the powerful “soul queen” Aretha Franklin in 2021’s Respect, and the complexed life of fame and control in the “king of rock and roll” Elvis Presley in 2022’s Elvis, and the tragic life of a great talent in Whitney Houston in the 2023’s film Whitney Houston: I Wanna Dance with Somebody. Now, Searchlight Pictures and director James Mangold presents the latest musical biographical drama that takes a look into the rise of legendary folk singer Boby Dylan in the movie A Complete Unknown. Does the movie find cinematic (and lyrical) bliss when recounting Dylan’s early career or is it a shallow motion picture that’s just as ambiguous and vague as Dylan’s openness to his past?
THE STORY
In 1961, a young Bob Dylan (Timothee Chalamet) arrives in New York City and is quite eager to meet his folk music hero, Woody Guthrie (Scott McNairy), who is in the hospital fighting Huntington’s disease. During this exchange, Bob meets Pete Seegar (Edward Norton), who is quite impressed with the famed folk singer with his singing, writing abilities, and the way he connects with the crowd of listeners. Seeing a hidden potential in the young man, Pete gives Dylan a chance, showcasing his musical gifts that are mesmerizing to all who listen to him, gradually building a fanbase with his vocals and lyrics that sort of becomes a leading force in the days of the American Folk Revival movement. Over time, Dylan finds a relationship within Sylvie (Elle Fanning), an educator who remains patient with Bob’s unusual artistic ways and mysterious past. As the years pass, Bob Dylan’s fame explores, taking a temptress love relationship with Joan Baez (Monica Barbaro), a leading voice in the current folk scene. However, despite his rising fame, Dylan detest the constant bombardment of celebrities and expectations, putting him on a personal quest to embrace a different sound for his music, including an electric guitar and a modern sounding band, which draws both concerns and ire from Seegar and the folk music community.
THE GOOD / THE BAD
Borrowing some of my lines from my review of 2022’s Elvis (not being lazy, but definitely my point of what I want to say / establish in this review as well) …. Within the many viewings of movies that I’ve been watching over the years, biopic dramas features are (to me) quite endearing to watch. Most of these endeavors are pretty well-made and usually a sense of “Oscar-bait” and / or “award contenders” from upcoming award seasons in Hollywood. To that degree, the features being told have also been quite compelling to watch, especially ones that uncover the lives of pronounced individuals and the affect that they left on history. Redirecting to what I mentioned in the opening paragraph, the recent fascination of adapting bio-pics movies that center around musical icons and artist is quite interesting. Of course, some of these individuals have been well-documented throughout the course of their lifespans and beyond, yet there is always more to say and do. What made the famous? What drove them? Who was behind their insecurities and downfall? How did they cope with adversary as famed talents? Naturally, the movies I mentioned do shine a light on the superstars, with Bohemian Rhapsody showing Freddie Mercury’s life, who wrestles with his identity and managing his time with business partners / band mates, while Rocketman presents a similar notion of depicting Elton John’s past struggles and his identity have an effect on his music career relationships as well as Aretha Franklin, who wrestled with loved ones and finding her own self-worth in the music business as seeing the film Respect, and Elvis Presley, who battled against his own demons as well as being forever controlled by his manager in Elvis. Naturally, the acting talents involved in these films rose to the challenge and captured some terrific performances, with actors Rami Malek and Taron Egerton multi-faceted adaptations of Freddie and Elton, while Hudson delivers a riveting portrayal of Aretha and Austin Butler gave a likeable and endearing performance as Elvis. Of course, their legacy in the music industry as made their “claiming to fame”, with the respected movies showcasing the high points of musical kaleidoscope carousel from the mini-concert ending in Bohemian Rhapsody, to the song-filled fantasy escapades in Rocketman, and soulful and powerful voice that is shown in Respect, to the charismatic and stylish roller coaster of a life in Elvis.
Of course, I can’t forget to mention Whitney Houston: I Wanna Dance with Somebody; a movie that highlighted the tragic life story of Houston’s life / career in the music industry and how circumstances brought a sad ending to a once powerful and very talented musician artist. The story being told is moving, but the actual framing of the feature was rather straightforward and formulaic that, like Respect, like that cinematic visual style and flair as the other musical bios were able to achieve. Although, the film’s closing medley of Houston’s songs was pretty good. In the end, music bios continue to be all the rage in Hollywood and, with so many artists and musicians out there to cover and frame a feature film around them, doesn’t seem to be slowing down anytime soon.
Of course, this brings me back around to talking about A Complete Unknown, a 2024 musical biographical drama film that explore the rising stardom in famed 60s folk singer Bob Dylan. As stated above, given how many of the famous and popular musician artist that have been recently covered in theatrical motion pictures, it was almost a matter of time that someone who would be wanting to cover Dylan’s career in a biopic drama. While this isn’t the first time that Dylan has been featured in feature film as the main subject matter, the idea to do such a new cinematic project does certainly come at the allure and fascination of recent endeavors of position iconic musician artists in the big screen limelight adaptation narratives. I can’t exactly remember when I first heard about this movie when it was announced, but I think it was sometime after Indiana Jones and the Dial of Destiny, with Mangold announcing his next project was going to be a biopic drama on Bob Dylan. While I do know of who Bob Dylan is and many of his songs, I wasn’t so much completely “fascinated” with his life story and his career in the industry. Whether that was because of my age (before my time) or less interest in 60s style music, I wasn’t too excited on the prospect of a film about Dylan’s life and music.
After some time, I remember hearing that actor Timothee Chalamet was going to be attached to this project and would be portraying Bob Dylan in the movie. Now, being fan of Chalamet, I was interested in seeing how he would play the role, which certainly made my curiosity more interested in seeing this movie. Soon, the film’s movie trailers began to appear both online and in theaters and I do recall seeing the previews every now and again when I went to my local movie theater. From the previews alone, the movie seemed poised to be an “Oscar-bait” type of endeavor, which the movie has been nominated several times during the current award season and has garnished quite a lot of attention to movie enthusiast out there. That being me (of course), I was curious to see what the movie had to offer, which I was interested in seeing A Complete Unknown when it was set to be released on December 25th, 2024. Due to my work schedule during the holiday season, I didn’t get a chance to see the movie until a few weeks after its initial theatrical release. Moreover, I did have to get some other reviews done and completed from my 2024 leftovers grouping before I moved on this one. Now, finally free of all that, I am ready to share my thoughts on this biopic drama. And what did I think of it? Well….it was just okay. Despite a strong performance Chalamet and from the rest of the cast as well as the various musical numbers and a well-produce production quality, A Complete Unknown’s character study into Bob Dylan’s career beginnings is quite interesting, yet feels rather shapeless within its undertaking, which results in an unbalanced theatrical endeavor that’s not quite as engaging as it wants to be. It’s definitely entertaining and will definitely be a crowd pleaser for fans of Dylan’s music, but it isn’t the best biopic out there nor is it Mangold’s best film to date.
As mentioned, A Complete Unknown is directed by James Mangold, whose previous directorial works includes such films as Logan, Ford v Ferrari, and Indiana Jones and the Dial of Destiny. Given his various backgrounds of doing different movie genres throughout much of his career, Mangold does seem a bit of an odd choice to do such a biopic motion picture on singing icon Bob Dylan. On the other hand, however, Mangold did direct 2005’s Walk the Line and did a pretty good job in presenting Johnny Cash’s story to the silver screen. So, there was some merit in Mangold winning the opportunity to present his cinematic tale of Dylan’s work, life, and music into this new film medium. To his credit, Mangold certainly does succeed in that regard and is able to shape a motion picture around such events that took place in Dylan’s earlier career life and the people that he encountered that shapes his music, his professional career, and even his love life.
Perhaps the most interesting aspect that Mangold does with the movie is not showcase the full “life and times” aspects of Dylan’s life / career and decides to showcase only a portion of it, mostly focusing on his rise to stardom and the impact that he had on the folk community. This idea has been done before, so it isn’t revolutionary, but one of the biggest criticisms that has plagued many narratives, especially biopic ones, that have tried too hard to encompass everything in the artist life and / or musical career from beginning to end. This, of course means that not every single detail that encompassed within his career is revealed in the movie as Mangold (and the script) keep the feature framed within the rise of Dylan’s career as well as his dealings with main players of the folk community. The narrative structure of Dylan embracing such a folk singer scene and then changing over time is a reflection of the “changing of times” that was found within the 60s, with Mangold utilizing the movie’s background storytelling of political maneuvering and other manners of society impacts and runs them congruently with Dylan’s career. There is a type of beautiful sadness to the whole thing, watching Dylan confront such changes with his behavior and bravado that he was known for as well as the music industry (as a whole) not wanting him to change, contempt of him being what the people want instead of branching out into what he really wants to do This, of course, is the very nature of the music industry and how producers / managers deal with musical artists. It’s a tale as old as time and on I think that almost all of these musician artist biopic endeavors have captured beautiful, with A Complete Unknown showing Bob Dylan’s embracing change for a new sound in his music and songs.
Of course, the big “highlight” of the feature (of which many will go to see this movie) is in the music scenes that are scattered throughout the movie, which are solid in their own regard and moving to watch. As mentioned, Mangold knows how to entice a story with such interject of musical events and sequences, which he does quite well and stages plenty of scenes throughout the picture. Before that, however, I will also mention that the film’s musical list is actually pretty good and does a great job in providing plenty of Dylan’s songs as well as other famed artists and musicians during the 60s era music scene. I will go on the record that I’m not the biggest fan of Dylan’s music. It’s not like I don’t like his songs, but I’ve never been a big fan of folk-esque style of music. Still, the movie is boast plenty of his songs that are famed staples to his career and the movie present them in a way that’s both enjoyable and ear-catching throughout. There is a level of quality in these performances that, while not as visually flashy as other film endeavors out there about musical artist, there is a sense of authenticity in these sequences and lends the true vocals and talent of these individuals come alive and reverberate in the cinematic lens. Thus, A Complete Unknown certainly captures the particular nuances wonderfully and Mangold frames several events that showcases a wide variety of musical songs and attendees from clubs to bars to studios and parties to even festivals and concerts. All of these moments are handled quite well and are surely the “bread and butter” of the feature’s intricate storytelling mantra.
For its production and presentation, A Complete Unknown is exactly what many would expect from both a James Mangold film and a biographical film in today’s movie landscape; both of which are mainly positive with plenty of well-crafted skills placed on the film’s overall “look and feel” aesthetics and cinematic nuances. Like all biopic endeavors, the film itself is window into that particular era of which the story takes place in, with Mangold and his team set in motion the film’s background playground, featuring the 1960s of New York City as well as some other nearby places to capture the landscape of the narrative. This particular layering of effects of practical and few visual generate ones helps build upon the level of practical and historical authenticity to the sets and gives credence to everything therein, including buildings, cars, billboard signs, offices, recording studios, and concert venues. Plus, all the wardrobe and make-up that is help applied to the acting talent whenever on-screen is spot on and definitely feels like the “sign of times” within the 60s scene. Thus, the film’s “behind the scenes” team, including Francios Audouy (production design), Regina Graves (set decorations), Arianne Phillips (costume designs), Christopher J. Morris (art direction), and the entire hair / make-up department, for their efforts in bringing the film’s world to the big screen with such vibrancy and detail. In addition, the movie’s cinematography work by Phedon Papamichael is great throughout the entire feature, with plenty of stylish and creative usage of techniques that help build some dramatic and theatrics to fuel the film’s integrity. To be sure, the film is quite a well-crafted film, with Mangold and those key players mentioned adding to their personal touches and flourishes to make for a superb looking motion picture.
Unfortunately, A Complete Unknown isn’t the grandiose or quintessential biopic drama that it aims to be, with the feature falling into its own trappings and pitfalls that drum up criticism in such an undertaking and overall execution. How so? Well, I do have to say that the movie itself is quite boring at times and the “too focused” narrative plays a part in that regard. Such a limitation on the film’s scope and storytelling, while commendable and gives more depth in Dylan’s early career, does feel lacking in terms of all moviegoers enjoying the movie altogether. With the potential to examine in terms of the folk music scene, the music genres of the 60s, and the political grandstanding during that era, Mangold limits that intake of such nuances and is more about the overall man (Dylan) and the pull and magnetism he had during the sixties. It’s definitely a very “niche” biography drama piece to present, which does have it merits (as mentioned above), yet it feels a bit lackluster at times. In essence, the movie is about Dylan’s personality and how he interacts with all the various people in his life from mistresses to producers, to musicians, and even the press. While that may sound interesting to focus an entire film on, the end results leaves a lot more to be desired, especially when Dylan’s personality was more snarky and aloof for most of his interactions. Such limitations are placed upon the picture and gives the movie feeling a bit too boring at times, with many talking scenes that don’t amount to nothing. It’s good for the actors to show off their talents, but that’s it. Such a meandering of the narrative path feels uninteresting at times, with several long parts that feel sluggish and creates numerous pacing issues. Thus, such a “too focus” narrative framing does work in a few key areas, yet Mangold struggles to find a proper balance in a story that is a tad too boring and just okay in general terms, which is never a good thing.
Coinciding with that notion, A Complete Unknown amounts to not much really, which is compounded further in the various characters and storylines threads that are intertwined and coming in and out of the story with little introductions to who they actually are. It’s gets a bit confusing because they movie doesn’t really give much time to identify who they are, yet it does become a bit clearer as things progress. Stil, the initial setup for a multitude of characters of singers, artists, musicians, managers, and producers becomes a bit staggering and adds to a little bit to the confusion complexities that are happening in the film. Adding to that is that the movie (as a whole) never quite feels completed, skipping around to much of this particular part of Dylan’s life / career, with only glimpses of what it all means in the grand scheme of things. Perhaps part of the problem of this resides in the film’s script, which was adapted from the 2015 book Dylan Goes Electric by Elijah Wald and penned by Mangold and Jay Cocks. Again, this brings up the narrowed and limitations that is set up as the movie’s parameters and gives the project as sort of shapeless mass that isn’t clear on how much it wants to divulge or dig into Dylan’s life and career during this fixed point of time. It certainly has intrigued, yet never quite reaches that particular cinematic threshold of in-depth / insight into many of the storytelling elements and / or of the many characters that populate the picture. The actual written dialogue for the characters is great and definitely works, but I think that the script could’ve been better handled.
Perhaps my greatest frustration about this movie’s “focused” narrative is found within its third act’s climactic conclusion of which the film is building towards. What’s the problem with it? Well, it just feels a bit underwhelming and not quite as strong / impactful as it should’ve been. Where everything leads to during this portion feels a bit lackluster, revealing a rather limp way to end a biopic endeavor on such a bland and uninteresting. I do get the reason behind it, especially with Mangold’s vision for framing the feature on Dylan’s position on traditional folk music and how the singer started to drift away from that traditional roots, yet it’s not really a resounding nor resonating event to build towards a movie’s climax. This leaves a lot to be desired in the film’s closing moments, ending the feature on one particular chapter of Dylan’s life, which can be seeing as a good thing, and yet it feels a tad incomplete, especially with all the characters and people that surrounded Dylan. It’s frustrating conclusion that becomes problematic and just feels uninteresting third act point.
The cast in A Complete Unknown is indeed a welcome one, with many recognizable acting talents attached to the project and all certainly do give a level of quality in their portrayals of these once real-life characters. While the assembled grouping of actors and actresses are solid, the film’s characterization of some of these individuals are left a bit underutilized in a few key areas. Indeed, each one has his or her own part to play in the main narrative being told, yet some aren’t as fully fleshed out as they could’ve been, which results in some wonky parts in the film. Leading the charge in the feature and “headlining” the picture is actor Timothee Chalamet, who plays the famous folk singer icon of the 60s Bob Dylan. Known for his roles in Little Women, Dune: Part Two, and Wonka, Chalamet is certainly a rising star in today’s “New Hollywood” grouping, becoming more and becoming popular with his more prominent leading roles in his career. Thus, after tackling the likes of Willy Wonka and Paul Atreides, Chalamet was probably looking to fill out his acting chops in the more biographical drama field, which is why he most likely won the role for playing Bob Dylan in this project. To his credit, Chalamet was perfectly casted in the lead part of this feature and plays Dylan was such causal nuances, especially in his body language and vocal performances of mimicking the famous folk singer in the correct way. He’s brilliant in those moments of dialogue scenes and certainly comes alive in the music scenes, which Chalamet does tremendously well in bringing Dylan’s memorable song to life. The characterization of Bob Dylan in the movie is indeed an interesting one that is both intriguing yet also befuddling. As mentioned, the film is utilized in a way to present Dylan’s personality and how he interacts with many of the individuals that come into his life as well as dealing with situations within the music industry scene and the larger traditional folk community. However, while such interactions and connections are made, there isn’t a whole lot of depth to be found within Dylan himself, which keeps the iconic man just out of arm’s length of delving too deep into his physique and behavior. Of course, there has been a lot of books, documentaries, and other mediums out there that goes into Dylan’s whole life story (with great detail), but, as for A Complete Unknown, Mangold doesn’t really paint much of a detailed portrait of the famed musician. What’s presented works, but there definitely could’ve been more substance. Overall I felt that Chalamet did a great job in playing Bob Dylan and certainly deserve the many praises that he has received for playing such an iconic musician role, yet I felt that the character could’ve been better written.
Behind Chalamet, the next big “named” actor attached to this project is actor Edward Norton, who plays folk singer / songwriter and social activist Pete Seeger. Known for his roles in Fight Club, Primal Fear, and Isle of Dogs, Norton has always been quite a skilled and gifted actor, choosing particular roles throughout his career that have surely become memorable in their own regards. Thus, to have Norton attached to A Complete Unknown was definitely a treat and it’s easy to tell that the actor did quite enjoy playing such a character like Pete Seeger. For his part, Norton plays Seeger with the same type of theatrical energy and charismatic nuances that the skilled thespian is known for and shines in every scene he’s in and whoever he’s on-screen with, providing a folksy and almost like Mr. Roger-esque like façade that Norton plays incredibly well. The character himself is also a vital importance to the main narrative being told as we (the viewers) are introduced to him at the film’s beginning and how he nurtures / encourages Dylan’s musical career in its infancy and how (as time progresses) he becomes a bit more irrelevant in the rising star’s life, which is something that happens to many in that particular industry. However, I think that Norton’s performance as Pete Seeger, while solid all the way around, isn’t quite as good nor as memorable as some of his previous works. It’s definitely good….don’t get me wrong, but I don’t think it’s worth him (Norton) getting all the various award nominations for portraying Pete Seeger.
Another big part of the film’s central focus on Dylan’s life is in the two women that he romanced on and off again for many years, which includes Sylvie Russo, who is actually based on Dylan’s relationship with Suze Rotolo (It was requested that the film not use her real identity), and folk singer Joan Baez, who are played by actress Elle Fanning (Maleficent and The Neon Demon) and Monica Barbaro (Splitting Up Together and Top Gun: Maverick). Both Fanning and Barbaro are talented actresses and have certainly left their own personal marks in their past endeavors, with A Complete Unknown adding another notch in that filmography column. Whenever on-screen, Fanning and Barbaro certainly do shine and do give a quality performance in their own regards, especially Barbaro with her portrayal Joan Baez. However, both characters are rather drawn out with ambiguity and vagueness when it comes to romancing Bob Dylan. There is a certain “pull” that each one has to famed folk singer and each one has their temptress relationship with him in a both good and bad way. Unfortunately, the script doesn’t allow deeper insight into why these two women fell in love with such an aloof individual and it feels as Mangold didn’t know how to fully present their narrative side threads correctly in the main plot. Thus, the various relationships meanderings between Dylan and Sylvie and Joan are found in some truth, yet never quite are fleshed out enough in the right way, leaving an airy of mystery and ambiguity that’s left unfinished and disjointed.
The rest of the cast, including actress Eriko Hatsune (Norwegian Wood and Emperor) as Pete Seeger’s wife Toshi Seeger, actor Scoot McNairy (Argo and 12 Years a Slave) as folk singer / songwriter Woody Guthrie, actor Boyd Holbrook (Logan and Indiana Jones and the Dial of Destiny) as famed singer / songwriter Johnny Cash, actor Andy Talen (Alama’s Way and Law & Order) as Jimmy Dean, actor Eli Brown (Gossip Girl and Wrath of Man) as blue guitarist Mike Bloomfield, actor Nick Pupo (The Offer and Halt and Catch Fire) as folk singer / songwriter Peter Yarrow, actor Stephen Carter Carlsen (Leaky Thoughts and Ella at the Library) as folk singer / songwriter Paul Stookey, actor Eric Berryman (Atlanta and Godfather of Harlem) as record producer Tom Wilson, actor David Alan Basche (Lioness and The Diplomat) as record producer / civil rights activist John Hammond, actor Joe Tippett, who for a fun fact went to the same high school I did a few years before me, (The Morning Show and Monarch: Legacy of Monsters) as folk singer Dave Van Ronk, actor Jams Austin Johnson (Saturday Night Live and Inside Out 2) as Gerdes M.C., actress Kavil Carter (Private Life and Let Him Go) as blues / folk singer Maria Muldaur, actress Alaina Surgener (FBI and No Hard Feelings) as folk singer Gena Russo, actor Big Bill Morganfield (Banshee) as Jesse Moffette, actress Laura Kariuki (The Wonder Years and Black Lightning) as Becka, actress Zoe Zien (FBI: Most Wanted and WeCrashed) as Tilda, actor Charlie Tahan (Ozark and I am Legend) as Al Kooper, actor Michael Chernus (Patriot and Severance) as Theodore Bikel, actor Reza Salazar (Elsbeth and Law & Order) as Tito, actor Norbert Leo Butz (Dan in Real Life and Fair Game) as folk field recorder Alan Lomax, actor P.J. Byrne (The Wolf on Wall Street and Babylon) as music manager Harold Leventhal, actor Will Harrison (Manhunt and Daisy Jones & The Six) as folk singer / songwriter Bob Neuwirth, and actor Dan Fogler (Fantastic Beasts and Where to Find Them and Fanboys) as music manager Albert Grossman, make up the remaining players in A Complete Unknown, with most acting as minor supporting characters in the film. While these characters have minor roles in the feature (some larger than others), the cast that play these roles, with whom most are based on historical figures during this era of the music scene, are solid in their respective performances.
FINAL THOUGHTS
Finding his tone of voice and giving the platform necessary spring off of, undiscovered talent Bob Dylan rises to stardom and faces the changing of times during the 60s, with various movements and people coming in and out of his life in the movie A Complete Unknown. Director James Mangold’s latest film takes another cinematic representation at the musical icon singer of Bob Dylan, peeling away at the folk singer’s fame and reputation throughout his beginning years of stardom. The feature does teeter on some imbalanced tones in and out of the narrative’s meandering that can create pacing issues and some rather ambiguous story threads that can’t make for a satisfying conclusion. However, there are some merits to Mangold’s approach to Dylan’s earlier part of his career, especially from a director’s standpoint, solid musical interludes songs, a good presentation, and some good character acting from the cast. Personally, I thought that this movie was just okay. I do give credit where credit is due, with Manigold framing the feature to focus on portion of Dylan’s life and gives boundaries to what is shown. Plus, I did think that Chalamet did a fantastic job in playing Bob Dylan and the musical sequences were terrific to watch. That being said, I felt that the movie was a bit boring and shapeless at times and really didn’t redefine the musical biopic dramas out there as some are making this picture out to be. Yes, I do believe that the movie was better than some other ones like Respect or Whitney Houston: I Wanna Dance with Somebody, but, to me personally, didn’t come close matching Bohemian Rhapsody or Elvis….in terms of style and substance. As for Mangold’s movies, It’s definitely better than Indiana Jones and the Dial of Destiny, but nowhere as near as fantastic (and gripping) as Logan or Ford v Ferrari. Thus, my recommendation for this movie would be a favorable “rent it” as it does hold a lot of merit within its undertaking and to be seeing by many out there, especially to those who love Dylan’s music, but it’s not quite the most riveting piece of biographical dramas out there and perhaps only good to be seeing once. In the end, A Complete Unknown is an interesting (yet ambiguous) take on the talented musician of Bob Dylan, staging musical events in a well-organized manner, yet feels lacking within its too focus framing that finds an enigmatic feeling of truly understand the allure and fascination of this legendary figure.
3.6 Out of 5 (Rent It)
The Official Website for A Complete Unknown Link: HERE
Released On: December 25th, 2024
Reviewed On: February 10th, 2025
A Complete Unknown is 141 minutes long and is rated R for language
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