Better Man movie review: Robbie Williams, the charismatic British pop icon, is the central focus of Better Man (2024), a biopic that blends surrealism with a traditional music narrative. Directed by Michael Gracey, known for The Greatest Showman, the film takes an audacious leap by portraying Williams as a CGI chimpanzee, a visual metaphor for his internal struggles and self-perception. Despite this unconventional approach, Better Man stays rooted in the familiar tropes of music biopics, tracing Williams’s journey from obscurity to superstardom, through the highs and lows of his life and career. The result is a bold yet uneven film that both intrigues and perplexes its audience.
Better Man movie review
The most striking feature of Better Man is its choice to depict Robbie Williams as an anthropomorphic chimpanzee, rendered in lifelike CGI. Played through motion capture by Jonno Davies and voiced by Williams himself, this creative decision stems from Williams’s own feelings of being emotionally stunted and his self-described image as a “performing monkey.” The film opens with Williams’s voiceover, declaring, “I want to show you how I really see myself,” setting the stage for a deeply personal, albeit surreal, exploration of his life.
While the chimp metaphor offers a fresh perspective, it also serves as a double-edged sword. On one hand, it underscores Williams’s insecurities and feelings of inferiority, particularly as the youngest and most brash member of Take That. On the other, it risks overshadowing the human story at the heart of the film. The visual novelty initially captures attention but gradually loses its impact as the narrative progresses, leaving some to question whether the gimmick was necessary or merely a distraction.
Despite its surreal veneer, Better Man largely adheres to the conventional structure of music biopics. The film chronicles Williams’s journey from his working-class beginnings in Stoke-on-Trent to his meteoric rise as part of Take That, his tumultuous solo career, and his eventual redemption. Along the way, it delves into the standard elements of the genre: a rough childhood, substance abuse, tumultuous relationships, and battles with self-doubt.
Steve Pemberton delivers a poignant performance as Williams’s father, Peter, a failed lounge singer whose abandonment leaves a lasting emotional scar. Alison Steadman adds warmth as Robbie’s beloved grandmother, who remains a source of unwavering support. The dynamic with Take That’s manager, Nigel Martin-Smith (played with sharp wit by Damon Herriman), provides moments of humor and tension, particularly during the band’s early days. Herriman’s line about the inevitability of the band’s eventual fallout—“In five years’ time we’ll all hate each other, but we’ll be rich”—is one of the film’s standout moments.
Michael Gracey’s direction shines in the film’s musical sequences, which are infused with energy and creativity. These moments elevate Better Man above a straightforward biopic, transforming it into a spectacle that reimagines Williams’s iconic songs. The standout sequence, “Rock DJ,” is a dazzling one-shot performance that chronicles the rise of Take That through seamless costume changes and choreographed dances on Regent Street. This scene alone captures the film’s ambition and Gracey’s flair for blending the theatrical with the cinematic.
Other sequences, like the reimagining of “Come Undone,” juxtapose Williams’s personal turmoil with surreal visuals. One moment sees him fleeing Take That in a high-octane car chase that transitions into a dreamlike scene of him drowning in a lake surrounded by paparazzi. These moments of visual storytelling effectively convey the chaos and pressure of his life in the spotlight.
Better Man delves into themes of envy and self-perception, offering a candid look at the darker motivations behind Williams’s success. The film doesn’t shy away from portraying his jealousy of contemporaries like Oasis, whose success he both admires and resents. This toxic envy fuels his drive for a Knebworth-level triumph, a goal intertwined with his need for validation from his father.
The chimpanzee metaphor adds another layer to these themes, representing Williams’s feelings of being less evolved or emotionally immature. However, as the film progresses, this metaphor is underutilized, with little exploration beyond the visual gimmick. By the time the closing credits roll, featuring real-life images of Williams, the chimp representation feels somewhat redundant, unable to fully encapsulate the complexities of his character.
The supporting cast adds depth and humor to the narrative. Jake Simmance portrays Gary Barlow with a mix of professionalism and tension, capturing the rivalry and mutual respect between the two bandmates. Raechelle Banno’s Nicole Appleton, though limited in screen time, provides a glimpse into Williams’s romantic struggles and the impact of his lifestyle on his relationships.
The screenplay, penned by Simon Gleeson, Oliver Cole, and Michael Gracey, injects moments of humor that balance the film’s darker themes. From Martin-Smith’s legally cautious quips to Williams’s self-deprecating commentary, these lighter moments prevent the film from becoming overly somber.
While Better Man takes bold creative risks, it’s not without its flaws. The film’s adherence to the traditional rise-fall-rise narrative can feel repetitive, and the pacing occasionally drags. The chimpanzee conceit, while initially intriguing, fails to sustain its impact throughout the film. As a metaphor, it’s underexplored, leaving viewers to wonder if it adds meaningful insight or merely serves as a novelty.
Moreover, the focus on Williams’s internal struggles sometimes comes at the expense of deeper exploration of his relationships and artistic process. The dynamics with his bandmates, his collaboration with songwriter Guy Chambers, and his romantic entanglements are touched upon but not fully developed. These elements could have added more emotional weight to the narrative.
Summary
Better Man (2024) stands out for its daring approach to the music biopic genre, blending surrealism with traditional storytelling. Michael Gracey’s direction brings visual flair and energy, particularly in the musical sequences that reimagine Robbie Williams’s greatest hits. The decision to depict Williams as a CGI chimpanzee is a bold, albeit divisive, choice that underscores his insecurities and self-image.
However, the film’s reliance on familiar biopic tropes and its uneven pacing prevent it from fully realizing its potential. While the chimpanzee metaphor offers a unique perspective, its underutilization diminishes its effectiveness. Despite these shortcomings, Better Man remains an intriguing exploration of fame, envy, and self-perception, driven by Williams’s charisma and Gracey’s ambitious vision. For fans of Robbie Williams and those seeking a biopic that defies convention, Better Man offers an entertaining, if imperfect, journey into the life of one of Britain’s most iconic pop stars.
Best 2 Rotten Tomatoes Reviews
Bombastic and knowingly ridiculous, Better Man comes together with assured ease and persistent rough-around-the- edges charm – Hannah Strong, Little White Lies
If you could tear your eyes away from the screen enough to check a stopwatch, not one minute goes by without a flourish that’s either funny, ridiculous, stunning or emotional – Amy Nicholson, Los Angeles Times
Top Movie Ratings
| Rotten Tomatoes | 92% |
| IMDb | 7.2/10 |
| Metacritic | 78% |
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