Nimrods, 2026.
Directed by Lee Kirk.
Starring Mason Thames, Kylr Coffman, Ryan Foust, Jenna Fischer, Mckenna Grace, Angela Kinsey, Keen Ruffalo, Ignacio Diaz-Silverio, Billie Joe Armstrong, Mike Dirnt, Tré Cool, Harper Marie Kirk, Fred Armisen, Bobby Lee, Jolene Blalock, Sean Gunn, Jennifer Leigh, Sam Huntington, Ryder Rapino, Sasha Brooklyn, P.J. Sosko, Buffy Milner, and Melissa Kurland.
SYNOPSIS:
Three buddies drive cross-country in a van, causing mayhem and mischief while racing to LA for their big break: opening for Green Day on New Year’s Eve.
An early scene in Nimrods sees aspiring punk band frontman Tommy (Mason Thames) come face-to-face with his idols, Green Day (comprised of Billie Joe Armstrong, Mike Dirnt, and Tré Cool, responsible for timeless politically-charged songs just as much as the typical rebellious stoner fare associated with the genre), handing over his demo tape in hopes of increasing his chances for his band, Analog Dogs, to hit the big time.
It’s a surprising moment, if only because one presumes co-writer/director Lee Kirk (working on the script alongside Green Day, which is close enough to a reunion as the filmmaker directed Billie Joe Armstrong in 2016’s Ordinary World, about a fading rockstar) would save a superfan starstruck meeting such as that for the finale. It’s an awkward encounter for sure, but one that ultimately culminates with the band giving Tommy and his friends words of encouragement. Yes, it’s also a beat to give moviegoers a first-act dose of Green Day on-screen, but telling that, for all the band’s music blasting over the soundtrack, this isn’t an egomaniacal project, but rather one sincerely supportive of rock ‘n’ roll’s next generation or simply anyone looking to follow in their footsteps.
Lee Kirk and Green Day give ample time to the Analog Dogs themselves (who, in a funny running gag, have their name accidentally read aloud as something crass), whether it be performing in a garage, hearing their songs, or performing. Additionally, there is the brief presence of another band belting out punk tunes, which quickly turns into a rainy, muddy scene that feels ripped from that infamous Woodstock year, when Trent Reznor of Nine Inch Nails sang, caked in layers of it, head to toe.
If Ordinary World saw Billie Joe Armstrong tapping into some uncertainty about his own career as an ageing rock star, Nimrods (originally titled New Year’s Rev, and likely changed since he film didn’t secure release date around the holiday; dropping this movie in the dog days of August is a questionable choice, but then again, the distribution is tiny with a limited demographic) is the band paying it forward by way of a story loosely inspired by their own tales on the road while finding their footing in the punk scene. Not to say that every joke or gag is a winner, but the humor does feel distinctly of teen youth in that scene, with characters and even a story that is mostly convincing, considering the worldwide popularity Green Day maintains.
Tommy and his pals, the no-filtered Fred (Kylr Coffman) and manic mama’s boy Chad (Ryan Foust), are tricked into a road trip from Kansas City to California under the deception that they will be opening for Green Day on New Year’s Eve. Routinely arguing with his brother Wayne (Keen Ruffalo), seemingly butting heads ever since the loss of their father years ago, a prank is successfully pulled in conjunction with his dimwitted friend Keith (Ignacio Diaz-Silverio) following the fan meet-and-greet at a record store (Green Day plays Kansas City the opening night of the film), taking advantage of the Analog Dogs, well, sticking to analog in a modern technological world, easily tricked into believing that Tré Cool has listened to their music and is impressed enough that the band would like done to serve as the opening act for the New Year’s Eve show. In their defense, the love for analog also yields some moving camcorder montage recordings, as if formative memories are being made
Admittedly, this is a contrived plot point even by the standards of putting a movie into motion. However, for all the playful camaraderie the friends share, this episodic film simply hits a wall during the road trip, continually finding contrived ways to hinder their travel. If these are real situations drawn from Green Day’s adventures on the road, they certainly feel exaggerated to a comedic degree and often come across as phony. That’s without getting into the random romantic subplot that feels as if it wasn’t there in an initial draft, as if Mckenna Grace signed on late into shooting. Yes, first love and crushes are part of the teenage experience, but, like many other aspects (including a detour to an eerie motel), they grind the proceedings to a halt. This is a 106-minute movie that has enough material for roughly 80 minutes and would flow better without constantly playing to the buddy road-trip clichés of incessant arguing brought on by roadblock after roadblock, then making up. Once these characters arrive at the concert venue, that energy is regained, with some clever, if fan-service, writing.
And yet, Nimrods still gets by on charm and intent, resonating as a sweet coming-of-age story. For the gags and occasional line that is corny, this also bears a personal authenticity of rock ‘n’ roll friendship and putting dreams first, never quitting on them. Perhaps this Green Day fan couldn’t resist the simple pleasures of the soundtrack driving the characters from scene to scene, although, again, it’s about something larger than their music. You might not have the time of your life, but it’s a ride worth hitchin’.
Flickering Myth Rating – Film: ★ ★ ★ / Movie: ★ ★ ★
Robert Kojder
