Although its slow pacing and gradual reveal about one of its protagonists’ past may not wow and excite all audiences, Alexander Payne’s latest film simply and wonderfully tells a story through a father-and-son relationship amidst the serene landscape of the mid-western United States.

David Grant (Will Forte), after trying to convince his father, Woody (Bruce Dern), of the scam he’s fed into when he receives a letter saying that he’s won a sweepstakes, hesitantly travels with his father to Lincoln, Nebraska to claim what Woody believes will be a million dollars. Along the way, David discovers more about his disgruntled father than Woody has led him to believe in adolescence.

One does not simply discuss a film by Alexander Payne without mentioning the landscape so beautifully captured (with help, of course, from cinematographer Phedon Papamichael). Even though ‘Nebraska’ is shot in black and white, the road trip from Montana to Nebraska speaks of a quiet majesty despite the tension that resides in the Grant family and in the community once word of Woody’s fortunes has spread.

While living seemingly simple lives being in a very rural part of the United States, the Grants’ lives aren’t anywhere near simple. David Grant is having issues of his own when his father—to much of his mother’s (June Squibb) discontent as well as his own—is hellbent on getting to Lincoln to claim his prize money. Like all adult children at one point in their lives, David struggles to get his father to see reason. Will Forte plays his role well as the ever-frustrated, but sweet son trying to find out the real reason as to why he’s so determined to attain something impossible and, at the same time, deal with his mother whose off-color and vulgar remarks and actions don’t help the situation. There’s an authenticity there that makes him a great presence and counterpart to Dern’s Woody. In many ways, Forte also adds to the humor to scenes, especially in ones where very little is said.

Nevertheless, no one in this film holds a candle to how many times Squibb steals the scene from Dern. Squibb plays the very definition of an old nag and, even at times where you start to feel sorry for both father and son, you can’t help but laugh and secretly yearn for more (i.e., visiting her sister-in-law’s house, “paying her respects” to her dead relatives, etc) from her.

Ultimately, ‘Nebraska’ mainly focuses on the relationship between father and son. While it takes the film a while to get there, the start of a father-and-son relationship this late in both men’s lives is a refreshing thing to see in cinema. ‘Nebraska’ is really not about trying to reach the impossible, but looking beneath the surface and obtaining what is possible (or what was there all along). In this case, it’s an understanding between two relatives after so many years of disconnect and miscommunication. Underneath the long pauses and the stillness that this environment and its characters provide, screenwriter Bob Nelson has unveiled a beautiful story.

With ‘Nebraska’, once the objective has been set it starts to move, but only just enough to provide space for character introduction, then development and then finally the plot. ‘Nebraska’ is its own special film that—given awards season—should be placed into its own category being unlike any other film this year. It is a steady, but amusing plot with wonderful performances by its cast and a story with a real genuine feel. Payne’s ‘Nebraska’ is definitely worth every dollar at the movies.

Jim’s Rating: 8.25/10