{"id":13098,"date":"2026-09-27T07:00:00","date_gmt":"2026-09-27T12:00:00","guid":{"rendered":"https:\/\/mailnewsgroup.com\/ohmr\/?p=13098"},"modified":"2026-09-28T07:38:03","modified_gmt":"2026-09-28T12:38:03","slug":"loss-leaves-more-than-memories-behind","status":"publish","type":"post","link":"https:\/\/mailnewsgroup.com\/ohmr\/loss-leaves-more-than-memories-behind\/","title":{"rendered":"Loss Leaves More Than Memories Behind"},"content":{"rendered":"
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\n \t<\/i> Read Time:<\/span>7 Minute, 34 Second <\/div>\n\n <\/div>

MOVIE REVIEWS
\nNickels<\/strong>
\n –  <\/strong> <\/strong> <\/strong> <\/strong><\/p>\n

Genre: <\/strong>Drama, Mystery, Thriller
\nYear Released: <\/strong>2026
\nRuntime: <\/strong>1h 42m
\nDirector: <\/strong>Spencer King
\nWriter:<\/strong> Tim Tuchrello
\nCast: <\/strong>Rob Riggle, Aaron Holliday, Elizabeth Tulloch, Vinessa Shaw, Rebecca Gayheart, Odessa A’zion, Tom Arnold
\nWhere to Watch:<\/strong> available in select theaters and PVOD October 2, 2026<\/p>\n

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RAVING REVIEW: <\/strong><\/strong><\/strong>There’s something almost ridiculous about assigning enormous meaning to a nickel. It’s the kind of coin many people wouldn't bother bending down to pick up, worth so little that finding one normally wouldn't register beyond the next few seconds. NICKELS takes that insignificant object and asks what happens when grief gives it a meaning that money never could.<\/p>\n

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Tom Monroe (Rob Riggle) has carried the death of his older brother with him since he was a teenager. Three decades have passed; Tom has built a successful life and raised a family, but time hasn't neatly separated him from what happened. When his neighbor's son Mitch (Aaron Holliday) is involved in a motorcycle accident, the similarities begin pulling Tom backward, reopening memories that never disappeared as completely as everyone around him may have hoped.<\/p>\n

Then there are the nickels. Their appearance gives Tom something tangible to attach to feelings he can't explain, and he gradually begins wondering whether his brother may somehow be reaching back toward him. Director Spencer King is less interested in proving or disproving that possibility than in what believing it does to Tom and the people around him.<\/p>\n

That's an important distinction because NICKELS could easily have become a supernatural mystery obsessed with delivering an answer. Instead, the movie focuses more on grief, faith, and the small connections people use to make sense of losing someone. Whether every coincidence has an explanation eventually matters less than why Tom needs those coincidences to mean something in the first place.<\/p>\n

Rob Riggle is the immediate curiosity here, simply because so many viewers associate him with loud comedy. NICKELS asks him to carry something considerably quieter, and the change works because Riggle doesn't approach Tom as though he needs to prove he can be serious. There isn't a constant effort to announce the dramatic performance. He settles into a man who has spent decades functioning perfectly well while still carrying something unresolved underneath.<\/p>\n

That restraint becomes especially useful once Tom's belief begins affecting the people around him. Grief can be intensely personal even when everyone involved lost the same person. NICKELS understands how difficult it can be to watch someone you love begin interpreting ordinary events in ways you don't understand, and supporting Tom and believing Tom aren't the same, which gives the family relationships more weight than they would've had if everyone simply accepted his interpretation.<\/p>\n

Elizabeth Tulloch is particularly important as Liz because the movie needs someone emotionally connected to Tom who can still view what's happening from outside his experience. Their relationship keeps the story from becoming a private conversation between Tom and the memory of his brother. Whatever Tom believes is happening doesn't occur in isolation, and his search for reassurance creates consequences for people who are trying to understand what he's chasing.<\/p>\n

Odessa A’zion brings a different energy as their daughter Harper. Her presence gives the film another generation through which to consider how grief moves through families, including memories inherited from stories rather than personal experience. NICKELS doesn't need to turn every family member into another mystery to solve; sometimes their value comes from showing how differently people respond when someone they love becomes consumed by something they can't see themselves.<\/p>\n

Aaron Holliday's Mitch matters as much because his accident is more than a convenient trigger for Tom's memories. The connection Tom begins making between past and present places tremendous emotional pressure on a young man already dealing with his own experience. That's where the movie becomes more interesting than a simple question of whether Tom is receiving supernatural messages. His need for meaning can be both comforting and disruptive.<\/p>\n

The film occasionally pushes those ideas harder than necessary. At times, the symbolism is clear enough that another reminder adds little, and the emotional intention becomes easier to see than the characters themselves. NICKELS works best when King lets a coincidence, conversation, or quiet reaction sit without immediately reinforcing what we're supposed to take from it.<\/p>\n

Its relationship with faith creates a similar balancing act. The movie is clearly sympathetic toward the possibility that connections survive death, yet it doesn't need to turn that belief into a requirement for the audience. Someone watching from a religious perspective may interpret Tom's experiences one way, while someone more skeptical can see a grieving man discovering patterns because those patterns provide comfort. Both readings can exist without either one completely erasing the other.<\/p>\n

That ambiguity is essential. Had NICKELS tried to build itself around a giant supernatural reveal, much of what makes the story affecting would've been replaced by mechanics. The question isn't really whether a dead man can leave behind five-cent coins. It's whether believing that he can helps someone finally address grief that has been sitting untouched for thirty years.<\/p>\n

The fact that a true story inspires the movie adds another interesting layer, although it wisely doesn't require the audience to accept every spiritual possibility as fact. Stories about people finding coins, hearing songs, or encountering familiar objects after someone dies are common because humans naturally connect memory to physical things. NICKELS uses that instinct without mocking it, understanding that something doesn't have to be scientifically extraordinary to become emotionally extraordinary to the person experiencing it.<\/p>\n

That sincerity can also become a weakness. The movie is so committed to treating its subject respectfully that it occasionally edges toward sentimentality, particularly when its themes of faith, family, and second chances begin stacking on top of one another. A little more willingness to leave certain emotions unresolved would've made some of the stronger moments hit even harder.<\/p>\n

There’s a noticeably better movie whenever NICKELS trusts its quieter instincts. The smaller exchanges, uncertain reactions, and moments where Tom is left alone with what he believes carry more weight than anything designed to force an emotional response. King doesn’t always resist that temptation, but when he does, the film feels considerably more honest. Grief rarely arrives with perfect words or a clear explanation, and NICKELS is most affecting when it lets that messiness remain.<\/p>\n

Still, something is refreshing about watching a movie that doesn't treat grief as a puzzle with a clean solution. Thirty years haven't made Tom's brother less dead, nor have they automatically made Tom comfortable with losing him. Time has simply allowed him to build everything else around that absence.<\/p>\n

NICKELS ultimately understands why five cents can suddenly become priceless. The coin itself hasn't changed, but the person finding it has, and meaning often comes from what we're willing or desperate enough to place inside ordinary things. Whether Tom is discovering messages from someone he lost or finally finding a way to speak to the part of himself that never moved on, Spencer King's film finds genuine emotion in refusing to make that distinction easy.<\/p>\n

NICKELS can be overly earnest and occasionally presses its themes when they've already registered, but Riggle gives the film a grounded emotional center that keeps it from becoming a collection of inspirational signs. You don't necessarily have to believe that someone we've lost can leave a nickel behind to understand why somebody might desperately hope they can.<\/p>\n

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[photo courtesy of 19TH HOLE PRODUCTIONS, BRIARCLIFF ENTERTAINMENT, RAINMAKER FILMS]<\/em><\/p>\n

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MOVIE REVIEWS Nickels –      Genre: Drama, Mystery, Thriller Year Released: 2026 Runtime: 1h 42m Director: Spencer King Writer: Tim Tuchrello Cast: Rob Riggle, Aaron Holliday, Elizabeth Tulloch, Vinessa Shaw, Rebecca Gayheart, Odessa A’zion, Tom Arnold Where to Watch: available in select theaters and PVOD October 2, 2026 RAVING REVIEW: There’s something almost ridiculous about assigning enormous […]<\/p>\n","protected":false},"author":1,"featured_media":13099,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"fifu_image_url":"https:\/\/mailnewsgroup.com\/img\/0367\/0367790.jpg","fifu_image_alt":"","iawp_total_views":21,"footnotes":""},"categories":[7],"tags":[],"class_list":["post-13098","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-in-theaters-digital"],"aioseo_notices":[],"aioseo_head":"\n\t\t\n\t\n\t\n\t\n\t\n\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t