Running Time: 119 minutes
This feature from 20th Century Studios opens exclusively in theaters on October 24th, 2025.
For six decades now, Bruce Springsteen has been recording and performing music for millions of fans. My sister saw him play for nearly four hours at a stadium in the 1980s, and I went to see him for the first time during his most recent tour. Seeing the artist play live is special. There is an incredible vitality to his performances, and the effect he has on the audience is remarkable. The house lights were up for most of the show, and you could see him moving around and making eye contact with not only those up front, but everyone in his sightline (even up in my section). I’ve never seen an artist play an arena and manage to make you feel like he was singing directly to you, but ‘The Boss’ manages to do it, night after night.
Springsteen: Deliver Me from Nowhere chronicles a brief, difficult period in the life of Bruce Springsteen (Jeremy Allen White). After finishing his tour for the hit double-album, The River, all would seem to be well. Yet it’s clear that something is eating away at the musician, something he’s having trouble identifying to manager Jon Landau (Jeremy Strong). Now famous, Springsteen feels a disconnect with his old life. His father (Stephen Graham) is also suffering from mental decline, and record executives are demanding new material immediately. The artist finds some respite dating single mom and waitress Faye Romano (Odessa Young), but is unwilling to talk about what he is going through. After watching the film Badlands (loosely based on spree killer Charles Starkweather), Springsteen is inspired to make new music. However, he pens dark songs and records them to cassette in his bedroom. The tunes are powerful, but worry his inner circle and irk record executives who want commercial hits.
While I wouldn’t have initially thought that White would make an ideal Springsteen, the actor acquits himself very well in the title role. Despite his grandiose on-stage persona, the musician is inwardly drawn (at least, in this story), and the actor catches his mannerisms and speaking voice convincingly. A surprising amount of the story is devoted to the lonely character staring into space, before putting thoughts and music to paper. Thankfully, the actor sells it and this reviewer had no trouble believing he was watching Springsteen.
As the artist’s temperament becomes moodier and he begins recording songs for the Nebraska album, there are several interesting moments. It is enlightening to see where the inspiration for the album came from and his personal process, as well as the trouble he has presenting the material to his manager and recording engineers. The raw sound of the demos can’t be replicated (and aren’t at a quality high enough to press on vinyl). This leads to conflict in the studio when the rerecorded, grander versions of the acoustic numbers leave Springsteen frustrated. And his other demos which would become a large part of the Born in the U.S.A. album get a lot of attention, upsetting him more. When Springsteen’s battling those around him to release his version of the album with a specific sound, the conflict is engrossing.
But not everything about the movie works. While it’s initially interesting to see the personal troubles that influenced his songs, at times the film feels like a repetitive series of montages of Springsteen’s childhood memories with accompanying lyrics. It slows down the pacing. Some notable events also feel like they’ve been left out. There are no conversations between the musician and members of the E Street Band, who no doubt witnessed his eccentric behavior during recording sessions. We see so little of them that one is left with the impression that the band were having a great time (which likely wasn’t the case). And speaking of the music, concert scenes in the film don’t match the real thing. Yes, it’s impossible to replicate that passion, but faster editing and interaction with the crowd would have added energy and authenticity. And the climax, in which Springsteen finally addresses family issues and feelings of depression, are well-performed but don’t resonate as strongly as hoped for.
Springsteen: Deliver Me from Nowhere is a good picture. It’s well-acted and presents insights into the artist’s mental state during the writing and recording of a classic album. But the picture lags in spots, nor is the presentation of the story as dynamic as expected. This effort will still impress fans, but for the rest, the best way to experience Springsteen remains live and on stage.