“Hillbilly Elegy” is not your typical Ron Howard movie, if there is such a thing.

It’s not a typical mainstream contemporary Hollywood movie, either. There are those.

Look at “Hillbilly Elegy” as the anti-Hallmark Movie (Not that there’s anything inherently wrong with a Hallmark Movie).

“Hillbilly Elegy” is powerful cinema, and one of the best films of 2020. Look for multiple Oscar nominations.

“Hillbilly Elegy” is an often uncomfortable look at a southern family about which the psychological term, dysfunctional, might be an understatement. The film fortunately has a redemptive payoff that makes sitting through all that has gone before bearable.

In “Hillbilly Elegy,” J. D. Vance (Owen Asztalos as young J. D. and Gabriel Basso as adult J. D.) is the son of Bev (Amy Adams), a mother who has a drug addiction.

J.D. shuttles back and forth mostly between Bev’s residences and that of his maternal grandmother, Bonnie “Mamaw” Vance (Glenn Close as adult Mamaw and Sunny Mabrey as young Bonnie).

As befits its subject matter, “Hillbilly Elegy” is a sprawling, brawling, messy film. It’s not your tidy Ron Howard movie. The direction, cinematography and editing is loosey-goosey. This creates an off-kilter emotional effect, which keeps the movie-goer wondering what crazy thing is going to happen next.

Let’s put it this way: If you were ever invited to a backyard barbecue at the Vance residence, you might have wanted to plan your escape route beforehand. Then again, maybe you should have politely declined the invitation.

To go into plot details of “Hillbilly Elegy” would spoil the movie-going experience for you. Suffice it to say, there are enough plot twists and turns to fill three movies.

“Hillbilly Elegy” is powered by two powerhouse performances by two women: Glenn Close and Amy Adams, either of whom may finally receive a deserved Oscar. They are nearly unrecognizable in their roles.

Glenn Close (seven-time Oscar nominee, actress, “The Wife,” 2017; “Albert Nobbs,” 2011; “Dangerous Liaisons,” 1988; supporting actress, “The Natural,” 1984; “The Big Chill,” 1983; “The World According to Garp,” 1982) slouches, limps and walks crab-like as Mamaw, the rough-and-tough family matriarch who may swear like a sailor but has the heart of a saint.

To look up the phrase “tough love” might yield a photo of Mamaw. She resembles Popeye the Sailor, with a chaw in her mouth or perhaps dentures on a bad Poligrip day. Close has some key scenes that are unforgettable. Look for a supporting actress Oscar nomination for Close.

Amy Adams (six-time Oscar nominee, actress, “American Hustle,” 2013; supporting actress, “Vice,” 2018; “The Master,” 2012; “The Fighter,” 2010; “Doubt,” 2008; “Junebug,” 2005) as Bev rages through the film like a house on fire. She captures the self-pitying, snake-charmer, excuse-laden life of an addict.

Bev has no remorse, no morals, no self-governing compass to guide her. The word “no” isn’t in her vocabulary. She takes down everyone around her, even if they are wearing a badge as enforcers of the peace. Look for an actress Oscar nomination for Adams.

Gabriel Basso as the adult J.D. and Owen Asztalos as young J. D. are outstanding.

Memorable in supporting roles are Freida Pinto as Usha, J.D.’s girlfriend; Bo Hopkins as Papaw, Mamaw Vance’s husband, and Haley Bennett as Lindsay Vance, J. D.’s sister.

Director Ron Howard (Two-time Oscar recipient, director, picture, “A Beautiful Mind,” 2001; Two-time Oscar nominee, director, picture, “Frost/Nixon,” 2008) marshals his forces as a seasoned director and actor, no doubt recollecting the memories of his youth as Opie in Mayberry, N.C., on TV’s “The Andy Griffith Show” (1960 - 1968). “Hillbilly Elegy” is more akin to the territory of Griffith’s monumental performance in “A Face In The Crowd” (1957).

Howard gets up close and personal with the characters, He pulls few punches. The movie could be subtitled Ugly R Us. Flashbacks serve the story well. Look for a director Oscar nomination for Howard.

Perhaps most interestingly, “Hillbilly Elegy” is based on The New York Times bestseller, “Hillbilly Elegy: A Memoir of a Family and Culture in Crisis” (2016) by J. D. Vance. The book (and the film) take place in 1997 in Kentucky and Middletown, Ohio. Vance went on to receive a law degree from Yale University.

“Hillbilly Elegy” is a peculiarly American story. Look for an adapted screenplay Oscar nomination for the estimable Vanessa Taylor (original screenplay nomination, “The Shape of Water,” 2017; and screenwriter, “Hope Springs,” 2012; “Divergent” 2014; writer and co-executive producer, “Game of Thrones,” 2011, 2012).

“Hillbilly Elegy” is a wild ride throughout the Gothic south. It recreates a desperate reality. And just when you think it’s over, the story turns a corner. ”Hillbilly Elegy” is an inspiration. Don’t miss it.

“Hillbilly Elegy,”

MPAA rated R (Restricted Under 17 requires accompanying parent or adult guardian. Contains some adult material. Parents are urged to learn more about the film before taking their young children with them.) for language throughout, drug content and some violence; Genre: Drama; Run time: 1 hr., 56 min. Distributed by Netflix.

Credit Readers Anonymous:

Glenn Close and Amy Adams have 13 Academy Award nominations between them, but neither has received an Oscar. Stay to the “Hillbilly Elegy” end credits to see comparison photos of the film’s characters and those they portray.

At the Movies:

“Hillbilly Elegy” was seen at the Frank Banko Alehouse Cinemas, ArtsQuest Center, SteelStacks, Bethlehem. My temperature was taken at the entrance. Social distancing was observed, including in seating. Face masks were worn. Hand sanitizer was available.

Movie Box Office,

Dec. 11-13: “The Croods: A New Age” continued at No. 1 for the third week, with $3 million, on 2,115 screens; $24.2 million, three weeks.

2. “Half Brothers” continued at No. 2 with $490,000 on 1,386 screens, with $1.3 million, two weeks. 3. “Elf” moved from the shelf, up three places, $400,000, on 850 screens, $1.4 million, five weeks, 2020 re-release. 4. “Freaky” dropped one place, $315,000, on 1.235 screens; $8.2 million, five weeks. 5. “How the Grinch Stole Christmas,” $268,170, on 300 screens, one week, 2020 Re-release. 6. “The War with Grandpa” dropped one place, $266,864, on 1,080 screens, $17.9 million, 10 weeks. 7. “The Polar Express,” $245,000, two weeks, $400,000, two weeks, 2020 re-release. 8. “National Lampoon’s Christmas Vacation,” $239,000, on 620 screens, $614,000, three weeks, 2020 re-release. 9. “All My Life,” $215,000, on 965 screens, $695,930, two weeks. 10. “Wonder Woman,” $189,000, one week, 2020 re-release.

Unreel,

Dec. 18

“Breach,”

R: John Suits directs Bruce Willis, Rachel Nichols, Thomas Jane and Kassandra Clementi in the Science Fiction Action film. An interstellar spaceship is weaponized to attack Earth.

“Fatale,”

R: Deon Taylor directs Hilary Swank, Mike Colter, Kali Hawk and Geoffrey Owens in the Thriller. A married man is caught up in a police detective’s investigation.

“The Dissident,”

PG-13: Bryan Fogel directs the documentary film about the disappearance and alleged murder of Washington Post journalist Jamal Khashoggi in Istanbul, Turkey.

“The Intergalactic Adventures of Max Cloud,”

No MPAA rating: Martin Owen directs Scott Adkins, Lashana Lynch, Tommy Flanagan and Ruth Horrocks in the Action, Comedy, Science-Fiction film. A spaceship crashes on a planet where there’s a prison.