Critics remain divided over Jeremy Allen White‘s central performance as Springsteen, with many praising his emotional depth while others question his suitability for portraying the younger version of the musician.
Jeremy Strong, however, has received near-universal acclaim for his tender, understated turn as manager Jon Landau. The film’s fictional elements, particularly Odessa Young’s character Faye—an amalgamation of Springsteen’s real-life romantic interests—has become a flashpoint for criticism, with purists arguing it undermines the film’s otherwise authentic approach.
Strong delivers a masterful portrayal of Landau while Young’s composite character divides audiences seeking biographical authenticity.
The narrative structure has proven equally contentious among reviewers.
After a strong opening sequence, many feel the film loses clarity and momentum in its middle section before culminating in an emotional climax that has reportedly moved audiences to tears. The film’s premiere at Telluride Film Festival in August 2025 showcased this divisive reception firsthand.
Director Scott Cooper’s visual approach juxtaposes vibrant, neon-lit romantic scenes with stark, contemplative studio moments that reflect Springsteen’s internal struggles. Some viewers noted how the film captures the essence of live performance preparation that contributed to Springsteen’s legendary stage presence. The movie captures Springsteen’s insistence on preserving the raw sound of Nebraska despite label resistance.
At its core, the film presents a deeply personal message about depression and artistic vulnerability that resonates most strongly with longtime fans, particularly those who appreciate “Nebraska” as a pivotal, introspective moment in Springsteen’s catalog. The documentary also explores how Springsteen’s compositions earned him royalties through performance rights organizations that helped sustain him during his darker periods.
The film prioritizes character development over commercial successes, focusing instead on humanizing the iconic performer by highlighting his insecurities and flaws.
This approach has cemented the project as more of an “actor’s movie” than a thorough career retrospective, leaving viewers either deeply moved by its melancholic introspection or frustrated by its narrative meandering and historical liberties.
