An aging, booze-addled father takes a trip from Montana to Nebraska with his estranged son in order to claim what he believes to be a million-dollar sweepstakes prize.
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Credits: TheMovieDb.
Film Cast:
- Woody Grant: Bruce Dern
- David Grant: Will Forte
- Kate Grant: June Squibb
- Ross Grant: Bob Odenkirk
- Ed Pegram: Stacy Keach
- Aunt Martha: Mary Louise Wilson
- Uncle Ray: Rance Howard
- Bart: Tim Driscoll
- Cole: Devin Ratray
- Peg Nagy: Angela McEwan
- Aunt Betty: Glendora Stitt
- Aunt Flo: Elizabeth Moore
- Cousin Randy: Kevin Kunkel
- Uncle Verne: Dennis McCoig
- Uncle Albert: Ronald Vosta
- Noel: Missy Doty
- Bernie Bowen: John Reynolds
- ER Doctor: Jeffrey Yosten
- George Westendorf: Neal Freudenberg
- Jean Westendorf: Eula Freudenberg
- Dale Slaasted: Ray Stevens
- Kathy Slaasted: Lois Nemec
- Mechanic: Francisco Mendez
- Bartender: Catherine Rae Schutz
- Mechanic: Jose Muñoz
- Sheriff: Terry Kotrous
- Sheriff: Dennis McCave
- Waitress: Rachel Lynn Leister
- Receptionist: Melinda Simonsen
- Cub Photographer: Noah Matteo
- Mark: Scott Goodman
- Janice: Colleen O’Doherty
- Karaoke Singer: Sherry Ristow
- Karaoke Singer: Roger Stuckwisch
- Uncle Cecil: Franklin Dennis Jones
- Appliance Store Employee: Jason Speidel
- Used Car Salesman: Bob Knollenberg
- Bar Patron: Robert Dach
- Bar Patron: Sherry Ferris
- Biker (uncredited): Anthony G. Schmidt
- Applauding Karaoke Patron (uncredited): Bob Nelson
Film Crew:
- Director of Photography: Phedon Papamichael
- Art Direction: Sandy Veneziano
- Sound Designer: Frank Gaeta
- Stunts: Jim Palmer
- Producer: Albert Berger
- Producer: Ron Yerxa
- Sound Mixer: José Antonio García
- Boom Operator: Jonathan Fuh
- Construction Coordinator: Wes Clowers
- Transportation Captain: Billy Scoles
- Director: Alexander Payne
- Casting: John Jackson
- Production Design: J. Dennis Washington
- Stunts: Tim Sitarz
- Editor: Kevin Tent
- Costume Design: Wendy Chuck
- Original Music Composer: Mark Orton
- Assistant Director: George Parra
- Executive Producer: Doug Mankoff
- Foley: Scott Curtis
- Foley: Dawn Lunsford
- Foley: Alicia Stevenson
- Set Decoration: Beauchamp Fontaine
- Hair Department Head: Waldo Sanchez
- ADR & Dubbing: David Bach
- Sound Re-Recording Mixer: Patrick Cyccone Jr.
- Stunts: Carrick O’Quinn
- Stunts: Danny Epper
- Camera Operator: Tari Segal
- Post Production Assistant: Josh Land
- Executive Producer: Julie M. Thompson
- Grip: Erik F. Hill
- Location Manager: John Latenser V
- Steadicam Operator: David Luckenbach
- Still Photographer: Merie Weismiller Wallace
- Property Master: Hope M. Parrish
- Dolby Consultant: Bryan Arenas
- Executive Music Producer: Richard Ford
- Digital Intermediate: Marisa Clayton
- Makeup Artist: Jay Wejebe
- Driver: Gracie Klein
- Script Supervisor: Rebecca Robertson
- Scenic Artist: Billy ‘Jilly Bones’ Jones
- Digital Intermediate: Mark Sahagun
- Picture Car Coordinator: Tom Rebber
- Executive Producer: Neil Tabatznik
- Electrician: Chris Weigand
- Stunt Coordinator: Erik Rondell
- Makeup Department Head: Robin Fredriksz
- Costume Supervisor: Jeannine Bourdaghs
- Executive Visual Effects Producer: Erika Abrams
- Art Department Coordinator: Jessica Ripka
- Sound Editor: Joe Iemola
- Stunts: Anthony G. Schmidt
- Writer: Bob Nelson
- Unit Production Manager: Mads Hansen
- Post Production Supervisor: Rick Reynolds
- Post Production Supervisor: Valerie Flueger Veras
- Dialogue Editor: Timothy D. McKeown
- Visual Effects Supervisor: Lawson Deming
- Stunts: Chuck Hosack
- Electrician: Geoff Ernst
- Grip: Hilton Garrett
- Grip: Nate Selee
- Transportation Coordinator: Gary Edelman
- Transportation Captain: Don Poole
- Craft Service: Jeff Winn
Movie Reviews:
- tmdb39513728: **Payne Relief**
The black and white photography is a nice touch. It gives a kind of Karsh look to the weathered faces of the aging, reflective, yet still yearning cast of characters, and suits the rapidly fading memories of a bygone era in recent American history. The acting was pretty good. Bruce Dern gives an effortless performance as a cranky old coot with one attention-seeking foot in the spotlight and the other half-buried in the shadows of utter dementia. The interpersonal conflicts among family and community, past and present are presented in a simple, linear uncomplicated way. The story seems to want to explore the sad truths of a regressive, bankrupt nation and the ridiculous dreams and delusions people cling to. Life is limited and unfinished. Like the heads carved out of Mount Rushmore. Like the forlorn characters wandering on and off the screen. For even after a lifetime of honest hard work aligned with various fixed Christian principles, a restless, quiet desperation lingers. Lies and illusions are necessary to prevent a lonely, inconsolable reality from setting in. And while Alexander Payne manages to keeps things relatively upbeat to prevent dragging us down into a pit of futile despair, he also fails to fully develop and realize the themes he puts forward. Every time Payne rustles up a movie (Sideways, The Descendants) he gets high praise, and this time he almost deserves it. He’s a fairly astute cinematician who wants to make meaningful pictures without getting in too deep. Specifically, road movies on half a tank. Thankfully, he doesn’t tread into murky Bergman territory, or puff his stuff up with Goddard-like self-importance, but he doesn’t do himself much justice by avoiding or brushing off the potential worth and urgency of the matters he introduces. His concepts are cut short. While I’m watching Nebraska, I can’t help but wonder how adept filmmakers like Kieslowski or Cassavettes would have treated and serviced the material. What’s almost more disappointing than getting old, losing a presence of mind and attempting to reconcile broken memories, is not being able to fully grasp, much less handle and nurture, your own brainchild.