Better Man

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Andre This movie made me ugly cry. Rated 5/5 Stars •  Rated 5 out of 5 stars 01/28/25 Full Review Kyle M Biographical film tends to explore in formally identifying the subject, which arguably and evidently exceeds the need for factual accuracy when the rooted basis gets retained beneath the dramatized effect that serves the picture. Upon recent observation regarding musicians on the other hand given in certain imagery being requested that also asks the prompted question, the craftsmanship becomes considerately faithful when the storytelling process follows how the subject sees it. This newfound angle, if not technically realized at first prior, has gotten quite an attention starting with Pharrell Williams visualizing his happy life in Legos “Piece by Piece”, then compelled in discovering “A Complete Unknown” that answers the lingering question with Bob Dylan’s certified stamp of approval. But beneath those celebrative renowned singers is Robbie Williams, a British singer we literally ask, “Who is he?” Forget the accompanied backstory’s creative depth, the household name means little without single knowledge. Williams is quickly witted enough to explain how he sees himself: a lesser evolved being as an anthropomorphic ape. Michael Gracey returns to the filmic stage after “The Greatest Showman” as he frames his second feat “Better Man” with recorded material from interviewing Williams over the singer’s life story, who later provides additional narrative materials for bridging completion and elaboration as well as personal touches. Not because of Gracey’s previous phenomenon nor the flat curiosity of getting to know Williams, it visually edges in significance as a unique art form that simply compels in gripping gazes. Gracey’s extravagant style is comparably subpar in this occasion whilst sensationally blended akin to Dexter Fletcher’s (and Bryan Singer’s) “Bohemian Rhapsody” for an original stir, otherwise it would have turned out substantially meaningless. Williams supposedly would not tolerate that after absorbing his emotional journey underlying personal growth haunted by the hallucinatory self through a routine yet observational insight over fame toxicity that he seems to pledge as the more affected case. His indomitable spirit grown from overcoming hindrances after constantly being looked down on, therefore fueling his insecurity but also resolve in not wanting to remain as a nobody. Despite the prior acknowledgement being little to none in the outer approach then nonetheless drawn to the solid uniqueness, the profiling deliverance is moderately satisfying. Energetically talented music rightfully frames the experience whilst showcasing Williams’ captivating talent, amidst an impressive production, namely the concisely designed choreography as per usual, instilling the extravagance as the original conception here distances from your ordinary musical biopic. Besides playlisting his recorded songs, Williams has written new songs that fulfill the presented endeavor’s expressive core with impactful tunes, but the lyrical absorbent aligning with the film’s overarching entertainment value is clearly treating converted listeners. Speaking of whom, the characterized treatment signals a conceptual surgical transition onto Williams as a more memorable figure than his status since it was built more than those around him as they may be better known to the particular fanbase to regional extent, but the overall characterization has shown to be underutilized and immemorably demoted to stock. Despite that, specially few – Raechelle Banno as Nicole Appleton, Alison Steadman as Robbie’s grandmother Betty, Kate Mulvany as the mother Janet and Steve Pemberton as the questionable, absentee father Peter – are performatively palpable highlights with the latter two shining as the film conclusively brightens. So in accessible terms, it is defined by Gracey’s riveting spectacle powered by Batu Senner’s terrific score and transitionally edited with brilliance, while the screenplay balances signature witty charm and thematically purposeful weaknesses. As mentioned, the spectacle includes the unique approach that truly evoked a different experience when replacing the human portrayal of Williams into an ape from the “Planet of the Apes” stellar reboots. Weird idea and occasional cringes aside, the visuals never gone off-key regarding the transformation feeding onto our favorably accustomed appeal from those films to admire the enabling soulfulness that has proven more emotionally weighed than facial normalcy. Jonno Davies is Williams’ stand-in portrayal, both physical and vocal with surprising results in undergoing his own capture that leads to misidentifying the actual singer’s participation aside from narrating. The only time he portrays himself was at the end that caps the possible therapeutic edge through his prolific exploration’s hefty grasp, and that felt more personally touched than his defenses. An artistic event at this scope is actually surpassed by its emotional center with identifiable resonance as his prolonging journey pits him against his past aspectual demons, judgmentally contradicting the insecure self in an effective sympathetic direction, accumulating in the final scene’s emotional payoff after briefly sequential reconciliations in a wholesome smile. As indicated by the box office returns, Robbie Williams is internationally unsung without broader acknowledging appeal except to benefit from a gimmickry draw as his granted projection of how he sees himself, hence a unique artistic experience with minimal compel. With Gracey’s visionary stature, Williams artistically projects his literal primitivity seeking evolution amidst “Better Man” that seemingly eager to solely treat the converted listeners, while those in the outer margins can still enjoy the typical assets but no more than resonating through the emotional center’s thematic dive. Much like the singer himself when he visited the career counsel and refused to remain grounded and got to soar, the film captures his sensation as it appreciatively make up for our lack of knowledge, signifying that if a subject does not seem interesting but decidedly uses a gimmick as its attractive grip it will still be enjoyable enough to discover its own ascension when given a chance. However, if still not motivated to check it out, you are actually not missing much when a simple recommendation would not justify in long certifying terms. (B) Rated 3.5/5 Stars •  Rated 3.5 out of 5 stars 01/25/25 Full Review Steven Aesthetically brilliant, should be nominated for best editing. Rated 5/5 Stars •  Rated 5 out of 5 stars 01/24/25 Full Review Moviegoer Well acted great dancers and very entertaining Rated 4/5 Stars •  Rated 4 out of 5 stars 01/24/25 Full Review Shawn It’s too bad people won’t look past the gimmick and see the fantastic and visually beautiful film behind it. Emotional, entertaining and meaningful. Rated 5/5 Stars •  Rated 5 out of 5 stars 01/23/25 Full Review Stephanie I thought it was an incredible movie. The story was told in such a brilliant way. It really takes it to another level compared to other artist/musicians movies. I can’t wait to take more people. Suck a lovely and at times heartbreaking story that needs to be shared. Rated 5/5 Stars •  Rated 5 out of 5 stars 01/23/25 Full Review Read all reviews

Better Man

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