BETTER MAN
(director/writer: Michael Gracey; screenwriters: Simon Gleeson, Oliver Cole; cinematographer: Erik Wilson; editors: Martin Conor, Jeff Groth, Lee Smith, Spencer Susser; music: Batu Sener; cast: Steve Pemberton (Peter), Jonno Davies (Robbie Williams), Alison Steadman (Betty), Kate Mulvany (Janet), Damon Herriman (Nigel Martin Smith), Raechelle Banno (Nicole Appleton), Frazer Hadfield (Nate), Tom Budge (Guy Chambers), Anthony Hayes (Chris Briggs); Runtime: 135; MPAA Rating: NR; producers: Jules Daly, Craig McMahon, Coco Xiaolu Ma, Michael Gracey; Paramount Pictures; 2024-UK/USA/China/Australia/France)
“Works better than I expected.”
Reviewed by Dennis Schwartz
Michael Gracey (“Pink: All I Know So Far”/”The Greatest Showman”) directs and co-writes this absurd and gimmicky film with Simon Gleeson and Oliver Cole, that works better than I expected. The biopic tells the success story of the egotistical bisexual singer Robbie Williams (Jonno Davies, performed by Davies but using the voice of Williams) as a musical, as he came out of nowhere to be a star. The singer narrates his own story.
Robbie has the CGI created form of a chimp, which is done by using some kind of motion-capture technology (its by the same team from the recent Planet of the Apes films).
The clownish and freely expletive swearing Williams comes from a working-class family in Stoke-on-Trent. He’s close to both his mum (Kate Mulvany) and nan (Alison Steadman). His conflicted deadbeat dad (Steve Pemberton), whose support he craves, disappoints him by saying he’s not good enough to be a headliner.
He’s a member of the band called Take That. The manager (Damon Herriman) gets the group to the top of the UK charts. But Robbie’s bad behavior and heavy drug usage, forces the band to dump him. He’s helped by his girlfriend Nicole Appleton (Raechelle Banno) in getting his life back together. He then makes it solo, as he writes songs with Guy Chambers (Tom Budge). But he still must tackle his demons.
Though the star is viewed as a chimp, the film is a compelling story that’s not played as a joke but seriously tries to get at what makes Robbie tick. The gimmicky execution works surprisingly well, the musical set pieces are a treat (especially the moving number of Angels), and it offers an entertaining look at a troubled star while also giving us a glimpse at how the music industry works.
It played at the Toronto Film Festival.
REVIEWED ON 1/4/2025 GRADE: B
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