Also let me put it here:

 

https://www.screendaily.com/news/strong-dec...le?referrer=RSS

Strong December boosts UK-Ireland 2024 box office to reach £1bn, level with 2023

By Ben Dalton3 January 2025

 

---

 

Almost no domestic movies in Top-10 2024, there are mostly US movies.

Let's see what Better Man can do in 2025 year.

 

5 Musicals Released in 2024 Better Than Wicked

 

Written by: Joshua

Published January 1, 2025, 6:00 pm

 

Musicals have had a tough run lately. Studios have been known to use clever (and sneaky) tactics to hide the fact that their movies are musicals entirely. Remember Wonka? But despite the negative stigma that the genre has carried in recent years, Wicked has defied the odds (and gravity) to become a box-office sensation and genuine crowd-pleaser. That’s great for Wicked and is a strong sign for musicals in general, but living in the giant shadow that Wicked cast are a slew of musicals that are arguably better than the Jon M. Chu directed hit.

 

NUMBER 2

 

Better Man

Directed by Michael Gracey

 

Much like Piece by Piece put a unique spin on the often cliche-riddled genre of musical bio-pics, Better Man made the puzzling choice to tell the story of British pop star Robbie Williams with a CGI monkey standing in for the singer. And some how… it worked. The CGI animation looks phenomenal, the music is fantastic and the story manages to remain emotionally relevant despite the fact that the lead character is a singing monkey.

 

https://fandomwire.com/5-2024-musicals-better-than-wicked/

38th nomination.

 

Critics Association of Central Florida Awards

 

Best Hybrid Performance

 

Robbie Williams, Jonno Davies - Runner-Up

 

http://www.centralflcritics.com/

 

 

Another interesting event happened yesterday.

The first US of 2025 has started yesterday - Palm Springs International Film Festival.

Better Man was an Opening movie of the Festival and Mr Gracey was there presenting the movie.

 

 

Some video on US TV:

https://kesq.com/news/2025/01/02/palm-sprin...gs-high-school/

 

Video interview with Michael:

https://eu.desertsun.com/videos/news/2025/0...al/77420678007/

 

Interview:

https://www.hollywoodreporter.com/movies/mo...pic-1236097943/

 

How Hugh Jackman Inspired the New Robbie Williams Biopic

 

Michael Gracey reveals the unlikely origin story for ‘Better Man,’ which opens the Palm Springs International Film Festival on January 2.

January 3, 2025 9:15am

 

Better Man filmmaker Michael Gracey knew it was time to shake up the musician biopic. The subgenre is often knocked for its formulaic, sanitized stories that preserve their subjects’ well-manicured reputations. And after spending six years developing Elton John’s biopic Rocketman only to be replaced by director Dexter Fletcher, the Australian had little desire to tell another performer’s life story ­— ­until he befriended U.K. pop sensation Robbie Williams, an inspiration for the 2017 smash hit musical The Greatest Showman, which he directed for Fox.

 

Williams regaled Gracey with evocative tales, and the English singer-songwriter eventually referred to viewing himself as a “performing monkey.” Inspiration struck, and the result is the refreshingly unconventional Better Man — which will open the Palm Springs International Film Festival on Jan. 2.

 

So, Hugh Jackman initiated Better Man somewhat?

 

Williams was his point of reference during Showman. He’d say, “I can be that charismatic entertainer.” It became an in-joke how much Hugh would reference Robbie. I then played the music for Rob, and in a video to Hugh [during preproduction], he said, “I’ve spent the last year recording my latest album, and I’d ditch that to sing these songs. In fact, if we were having a cup of tea and nobody was looking, I’d bludgeon you to death to play P.T. Barnum.” What he said was better than anything I could’ve written to convince Hugh Jackman to move forward.

 

Did you get straight to work on Better Man, then?

 

The usual offers came in, and while it’s nice to have interest, I was adamant about pushing myself creatively. At the same time, I was enjoying Rob’s stories so much that I wanted recordings, but they weren’t originally intended for a film. After a year and a half, I thought, “Maybe there’s something here.” I’d worked on Rocketman for six years, and I didn’t end up getting to direct that, so I wasn’t looking to do another pop/rock star’s life story. But it came down to Rob’s engaging storytelling — and the monkey. If I hadn’t come up with the monkey as a creative way in, I never would’ve made Better Man.

 

Was presenting Robbie’s character as a CG monkey a response to the subgenre’s overused conventions?

 

I think so. With musical biopics, you deal with the star or their estate, and that gets hard. People want to protect their legacy and image, but Better Man has scenes where Robbie is highly unlikable. That’s way more relatable than a holier-than-thou star, so the monkey allows you to empathize in those uncomfortable moments. We feel more compassion watching animals suffer. Fortunately, Rob was on board. He said, “I’m not interested in the glorified, watered-down version of my life.”

 

Did the monkey prevent studio backing before production?

 

A monkey main character in an R-rated film by the Greatest Showman director — studio friends looked at it early on and said, “Michael, no one’s touching this film.” It was only going to get made independently, and even that was difficult, partly because Rob is unknown in the U.S. The monkey also meant almost tripling the budget of most musical biopics, so it took years to finance.

 

Is the sequence around Williams’ hit “Rock DJ” among your proudest filmmaking feats?

 

I wish I could’ve pulled off something like “Rock DJ” for Showman. As an independent film, I didn’t have the same fights I had with [Fox]. They were terrified about making a musical. The first trailer hid the musical [element], and I was told, “Not everyone likes musicals.” Funnily enough, the idea for the moment in “Rock DJ” where they dance atop gumballs goes back 15 years to when I was working on the Chitty Chitty Bang Bang remake with Barbara Broccoli. That didn’t get made, and they wouldn’t let me do it on Showman, so Better Man was my third attempt at that sequence.

 

Interesting interview ...

 

 

 

 

Robbie Williams Talks Better Man, A Sequel, His Dad & Kids Reactions & What Didn’t Make the Film

 

 

Robbie Williams sits down with Seany B to discuss his 'Better Man' biopic, revealing which scenes are true and the hidden stories that didn’t make the cut. He shares how he talks to his kids about fame, offers insight into the process of selecting songs for the film, and hints at plans to release more of his discography on vinyl.

 

@1875200022394056845

 

 

 

Film Review: Better Man

Review by Daz Gale

 

⭐️⭐️⭐️⭐️⭐️

 

 

 

The last few years has seen no shortage of biopics made of iconic singers. We’ve already had Freddie Mercury, Elton John, Whitney Houston and Amy Winehouse to name but a few. All were pretty outstanding films, though obviously some are better than others, but none of them had a CGI monkey, did they? That’s where Better Man sets itself apart immediately, breaking free of the supposed constraints of the artist biopic to tell a very different and creative tale of the rise of Robbie Williams. With its bold and unique selling point, would Better Man be able to entertain audiences or would all of this monkeying around prove to be a bit too bananas?

 

Though he is a huge name in the United Kingdom and has been for well over 30 years now, in other parts of the world, Robbie Williams isn’t quite as well known. It has been hard to escape social media posts from Americans in recent weeks wondering just who this random man with a film made about him is and why us Brits seem to love him as much as we do. For their benefit, and for anyone who has been living under a rock (DJ) since the 1990s, let me quickly recap:

 

Robbie Williams first found fame in 1990 as part of the five-piece boyband Take That. Though success didn’t come immediately (as memorable as the ‘Do What U Like’ video was), when they eventually got their first hit, the band became inescapable. Constant number ones followed over the next few years and the band seemed to be unstoppable… until Robbie left the band in 1995. The next year he launched a solo career and in 1997 ‘Angels’ cemented him as a solo star in his own right. The hits kept coming as did the number one albums, and it wasn’t long before Robbie was winning countless awards (18 Brit Awards so far) and regularly playing to sold out stadiums, taking his place as one of the best-selling music artists in the UK. It wasn’t always easy though with as many lows as highs and well-documented struggles with his demons. That is where Better Man proves to be a compelling watch.

 

Whether or not you identify as a Robbie Williams fan (It’s no secret I’m one), there is something for everyone to enjoy in this film which strips away the mystique and bravado of the pop star and travels under his skim to tell a tale of humanity, recognisable and relatable to all, even if you haven’t sold millions of records yourself. The writing from Simon Gleeson, Oliver Cole and Michael Gracey is full of vulnerability and doesn’t shy away from exposing the darker side of fame and all that Robbie dealt with in the period of his life Better Man focuses on. Crucially, this doesn’t feel like a project peppered in self-indulgence. Instead, it is an attempt to understand the man behind the mask – all of his self-doubt, battles with addiction, insecurities and mental health. It is this sensitive yet no-holds-barred approach that makes Better Man an emotional watch. Yes, there are of course moments that will make you laugh – after all, that is one of the key elements of Robbie as an entertainer, but don’t be surprised if tears of laughter suddenly transform into tears of sorrow.

 

There is no attempt here to paint Robbie as a saint. Better Man instead focuses on how tormented he has been, with apparitions of his past self providing the main antagonist of the movie in an inspired touch where the villain is Robbie himself. It is more complex than that, and the movie’s title Better Man (not released as a single in the UK so perhaps not one as familiar to many) where he sings “I’m doing all I can to be a better man” summarises what the movie is about as it focuses on a raw and unflinching journey where every high is met with a low, and a high of a very different kind to create a tumultuous time for the entertainer but one that ultimately shaped him to be who he is today.

 

Then, of course, there is the monkey. Robbie has said he always sees himself as a performing monkey so as surprising a choice as this is, it oddly works. With the remainder of the cast played as humans, it is an inspiring mix of fantasy and fantastical yet with a poignant touch behind its meaning. The humanity in the monkeys face, complete with Robbie’s own eyes, allows for a sympathetic approach that connects the audience with his journey immediately. Yes, it also makes for some comic moments but it never feels like a novelty or a cheap approach to trivialise anything. Instead, it speaks as a great metaphor to Robbie himself and a writing team with a deep understanding of his inner-workings and how something beautiful can emerge from the darkness. With Jonno Davies providing the motion capture and younger voice while Robbie himself voicing the older chimpanzee, it leads to an intriguing yet captivating mix of heart, humour and humanity.

 

Michael Gracey’s direction ensures Better Man is a beautiful film at all levels, mixing fantasy and reality to create pure magic. This truly comes alive in the musical sequences – the best of which is ‘Rock DJ’ – an awe-inspiring number charting Take That’s rise to fame as they cause chaos down Regent Street in what has to be one of the greatest musical numbers I have ever seen on film. It isn’t the only highlight though, with a stunningly beautiful ‘She’s The One’ taking inspiration from the original music video while elevating it to cinematic proportions. Of course, ‘Angels’ comes at a pivotal moment, bringing even more poignancy to lyrics that have held meaning for many since the single was first released.

 

A wonderful cast maintain the high standard set by the creatives with Steve Pemberton on top form as Robbie’s dad Peter Williams and Alison Steadman a strong standout as Robbie’s nan Betty. Raechelle Banno is a highlight as Robbie’s former fiancée and All Saint Nicole Appleton, with musical theatre fans recognising the singing voice of Kayleigh McKnight in a key sequence involving her. Robbie’s four Take That bandmates are a highlight too, with Jake Simmance an absolutely fantastic Gary Barlow.

 

I’ll be honest – Better Man was not a film I had been particularly excited for. Despite being a fan of Robbie Williams, like many others I reacted to the first trailer with “What the Hell was that?” Any scepticism or low expectations I had were certainly quashed within seconds of the film starting. A biopic unlike any other, this doesn’t try to gloss over the more unsavoury of moments or pretend Robbie Williams is perfect. The result is an exposed portrayal of a complicated man who has faced his demons and come out of the other side in a tale of struggle but ultimately survival and optimism. I’m not ashamed to say I was reduced to tears by the end of the film in what is a refreshing and truly beautiful movie. Fans of his will love Better Man but anyone who has been indifferent to him or even loathed the man may find themselves surprised by their feelings towards the movie and even him after it has concluded. Not just a great biopic, a great movie and one anyone who loves musical movies is bound to adore. If you had no desire to see this, take my word for it and give it a watch – with the amount it will make you feel, you’re sure to have no regrets.

 

Better Man is in cinemas now.

 

 

https://www.allthatdazzles.co.uk/post/film-review-better-man

Edited January 4Jan 4 by Sydney11

IMDB rating is growing again!

7.7 now (was 7.6 since Monday)

 

https://m.imdb.com/title/tt14260836/

 

And about a third of the 1/10s on IMDB are from America.

Interesting interview ...

Yes, thank you.

It was good to know something new about Please Don't Die song for example.

 

Anyway, Robbie mentions Better Man Part 2 rather often during his promo period, even here during a recent interview for Australia.

Is he really think it's posiible at all or it's just a panto?

He sounds like it's not only about Box office what is very strange for me. But if he believes in that it's good.

And about a third of the 1/10s on IMDB are from America.

Yes.

That's good. it means there's a clear opportunity where it can be improved. All it takes is a little change in their minds :lol:

Let's see, let's see...

 

Waiting for Robbie at the Golden Globes tomorrow, isn't it?

 

https://nerdbot.com/2025/01/04/82nd-annual-...e-the-nominees/

Some interviews for Arabic and Indian media

 

 

I checked online, the screening in Ljubljana was rather full today. I would say about 70% seats filled, the most I've seen since the movie launch.

 

They are also promoting the movie with an opportunity to see Robbie in Trieste if you watch BM in the next week or so. I already have tickets, but I've applied of course 😎. Trieste is already sold out and it would be nice if I could bring some extra friends with me.

Movie Review: ‘Better Man’ is Dark and Life-Affirming

 

Maxance Vincent

December 24, 2024

 

The ‘singular profile’ the synopsis refers to in the story of Robbie Williams in Michael Gracey’s Better Man is that its central figure is depicted as a monkey. From his childhood to his Take That days, following his solo career, we see the highs and lows of Williams’ music career and personal life as a chimpanzee plucked straight out of the Rise of the Planet of the Apes trilogy, which slightly discombobulates things, when everyone around him is a human. Williams provides the voice of himself (alongside frequent bursts of voiceover narration throughout the 135-minute-long film), while Jonno Davies captures him to life through motion capture.

 

Such a unique proposition certainly posits Gracey’s film as a unique biopic that longs to break the conventionalities that many ‘pop star’ pictures are stuck in. Few movies that focus on its central artist figure dare to do anything different than depict them through humble beginnings, a meteoric rise to success, a cataclysmic fall, and a redemption arc. This was the structure of Freddy Mercury’s story in the terrible Bohemian Rhapsody, with zero flair or desire to do anything more than stay in the most banal biopic tropes possible.

 

One movie that attempted to do something different with its structure was Dexter Fletcher’s Rocketman, and he more than succeeded in giving life to a rather stale sub-genre of biopics, and is, in my opinion, the best musical artist portrait of the last decade. Better Man certainly seems to take inspiration from Fletcher’s film, with frequent ‘song and dance’ numbers that represents Williams’ early-on success with the boyband Take That and manager Nigel Martin-Smith (Damon Herriman), the blossoming romance between him and All Saints member Nicole Appleton (Raechelle Banno), and the constant push-pull between the life he experiences and the voices he continuously hears from his inner demons.

 

Eventually, Williams battles those demons in one of the most surprisingly violent and cathartic action setpieces of the year that puts the entirety of the Matt Reeves Apes saga to shame. In watching such a scene, one has the impression that, in doing so, Gracey and co-screenwriters Simon Gleeson and Oliver Cole will push the boundaries of what is considered a ‘traditional’ biopic to deliver something wholly unique, in the image of Williams’ crazy life. His life was often as wild as the mere idea of turning him into a monkey for the entirety of Better Man. It was fleetingly positive, with occasional glimpses of a fruitful career, where the adoration between him and millions of fans would provide him the satisfaction he’d always wanted since he was a boy.

 

However, his career was far more self-destructive than rewarding, with Williams developing an early addiction to drugs and alcohol as a way to ‘combat’ his burgeoning depression. With such rapid adulation and praise, many could think that Williams’ life was what he’d always dreamed of. He certainly did, but not in the way it happened. Through these shocking moments of vulnerability, Gracey employs strong visual metaphors that represent how Williams’ career – and personal life – has gone out of control.

 

It’s in these sequences where Better Man works best. The story is all visual, and we perfectly understand what Gracey means when sticking Williams inside a frozen body of water, unable to break the ice, and drowning from the swarm of vulturous paparazzi who pull him further down, with no way out. For him, the only way to escape the internal and external pain of such a career is to partake in excessive drug use, to which we see depicted in rather harrowing fashion through these metaphorical scenes.

 

Even with the CGI monkey, the sheer naturalism of Davies’ live performance (alongside Williams’ voice) ultimately makes us convinced we’re watching a fully-fledged human being and quickly forget we’re seeing his life told through the eyes of a chimp. It’s also a testament to WETA’s endearing quest for turning performance capture into an artform, with this year’s Kingdom of the Planet of the Apes and now Better Man differently showcasing how the technology has evolved ever since Andy Serkis paved the way for the adoption of such a practice in Peter Jackson’s The Lord of the Rings: The Two Towers.

 

And yet, with such a wild framing device and visual-heavy scenes, Better Man is unfortunately bogged down by an insistence of staying within the regular biopic structure with no real desire to transcend it. This ultimately makes its narrative feel more predictable and mawkish than it should be, especially when Gracey depicts the relationship between Williams and Appleton. Credit where credit is due: there’s a rather tragic musical number that contrasts their initial meeting with a decision that ultimately ended their relationship, after Nicole was forced to abort her pregnancy with Williams’ child from the All Saints record company.

 

Representing such a scene through song may bring about complex feelings, but Gracey directs this scene with enough compassion that it doesn’t seem at all manipulative (compared to how he frequently pushed buttons in The Greatest Showman). The cross-cut between the beginning and ending of the most hopeful part of Williams’ life is starkly visualized, even if the relationship gets stuck in cyclical platitudes afterwards (apart from his initial meeting with Oasis members Liam and Noel Gallagher, which got the biggest laughs out of me).

 

Then, there’s Robbie’s relationship with his distant father, Peter (Steve Pemberton), which is taken out of every single ‘long lost father has regrets about not being there for his son’ trope possible. While Pemberton does his best with the material he’s been given, the dialogues feel all-too-familiar, resulting in some of the more emotional sequences between the two falling flat. Thankfully, there are more visual-driven sequences than traditional ones, but the latter has the tendency to dilute some of Better Man’s strongest moments, and stretching the runtime to a conclusion where all the heartstrings should theoretically be pulled (a “full circle” moment between Robbie and Peter singing Frank Sinatra’s “My Way”), but doesn’t really do anything.

 

Still, it remains a better-directed (and ultimately better) movie than The Greatest Showman, and demonstrates how much Gracey has improved as a filmmaker, not just in helming musical sequences that allow the choreographies to be seen (unlike the aggressive TikTok-styled editing of the P.T. Barnum picture), but in depicting such a dark, but ultimately life-affirming story. It should’ve been way crazier than it is, but Better Man still remains a crowd-pleasing affair that, despite its unusual framing device, will touch the hearts of millions of moviegoers who will buy a ticket for it this Christmas, provided they are willing to engage in a bit of monkey business.

 

Grade: B-

 

https://insessionfilm.com/movie-review-better-man/

Robbie Williams’ Apeshit Biopic ‘Better Man’

 

David Phillips by David Phillips

December 28, 2024

 

“I came out of the womb with jazz hands,” the voice of the massive UK hitmaker Robbie Williams tells you at the film’s beginning. While that statement is very telling about Williams being a born entertainer, it doesn’t necessarily explain why he is played by a CGI chimpanzee in his biopic Better Man. That’s right, a walking, talking, singing, dancing CGI chimpanzee among a world of human actors. Williams gave director Michael Gracey this audacious concept in an off-hand comment during an interview in which Williams said, “I’m just a performing monkey.”

 

The audience laughed, but Gracey (a Brit himself) hatched upon an idea. Let’s tell a pop star’s story through a character who looks like he got cut from the rebooted Planet of the Apes movies. What’s fascinating about the choice is that it doesn’t just bring to life Williams’ comment; it also illuminates his life-long feeling as a rejected outsider despite the incredible heights of fame he achieved. It also means no human had to play Williams himself and try to recreate a one-of-a-kind personality and the unique cadence of his voice.

 

Earlier this year, Netflix released a fairly conventional (if highly enjoyable) docuseries on Williams’ ascent to stardom, descent into self-flagellation, and desire to become a better man. Simply titled Robbie Williams, I ate it up and chose to write about the series. It occurred to me, though, that I’d have to explain to a lot of Americans why they should care about Williams in the first place.

 

Simply put, for nearly a decade, Robbie Williams was the biggest pop star in the world. That is, everywhere in the world–everywhere except the United States. Williams started out on his road to stardom as the youngest member of a “boy band” called Take That, who were a sensation in Britain, but only managed one hit, “Back For Good,” here in the States. When Williams left the band, he eclipsed all of his more experienced mates by leaps and bounds. No one would have predicted that.

 

Despite coming into his own as a solo artist and cutting entire albums that sounded like greatest hits records–how the record company picked the singles would be fascinating to know. Did they pour over each track with magnifying glasses or just throw darts at a board? Either method would have been sufficient. Still, despite Brit-pop peers like Oasis and Blur finding a foothold on pop radio in the U.S., Williams could barely get into rotation on MTV. The disturbing truth is Williams’ biggest success on this side of the Atlantic is the insipid cover of his gorgeous ballad “Angels,” which Jessica Simpson turned into a musical version of the worst romance novel you’ve ever read.

 

All of this begs the question: What in the world was Paramount Pictures thinking when it acquired the film from the two independent studios that made it and decided to give it a platform release in America on Christmas Day and then go wide on January 17, 2025?

 

The only conclusion I can come to is that Paramount is led by a crew of mad bast*rds, or, and this seems less likely, the undeniable brilliance of Better Man can’t be, er, denied. Now, I must say, it does take some getting used to—the whole chimp device. I know about ten minutes in, the thought came to mind, “They’re really doing this? And for 135 minutes?” Yes, yes, they f***ing are.

 

The degree of self-imposed difficulty is off all charts (pop or otherwise). And yet, and yet, it works. It works even though the film is chock full of rock-star cliches: the broken family, the vile band manager, the awful nature of the music business, the sex, drugs, and rock and roll of all of Better Man has been told before, but never like this. And I know what you’re thinking right now: You’re thinking, I mean the talking chimp part. Sure, that’s never been done, but what makes Better Man feel truly unique beyond the simian storytelling device is the simple fact that there is no one else like Robbie Williams.

 

His personality is split between artistic brilliance, outrageous bravado, razor-sharp wit, and a depth of self-loathing that nearly drowns out the previously stated attributes. The key aspect of the film is having Williams switch back and forth between all these aspects of his personality. He has to play himself. No one else could do it—well, other than, apparently, a talking chimp.

 

Michael Gracey’s previous film was also a musical: 2017’s Greatest Showman, starring Hugh Jackman—a film I could barely tolerate. The leap Gracey makes from Showman to Better Man is hard to fully describe without going through reams of Google Docs, but let’s just say it’s substantial.

 

The technical prowess and visual effects are extraordinary, but the emotional depth and management of the wildly swinging tones based on Williams’ ever-changing moods is genuinely stunning. There is a sequence in the movie regarding the moment Take That realizes they are going to get their shot at the brass ring that starts from an office building, breaks out into the streets, and then back into interior locations that has to be seen to be believed. I’m sure there are some hidden edits in the set piece, but my discerning eye could not pick up a single one. Yet, as grand as it is, there’s a jab that the film takes here at his former bandmates (whom he has since reconciled with but was treated like an afterthought during their time together). The track they are performing in true break-into-song (and dance fashion) is a solo hit of Williams’ that came much later in his career: “Rock DJ.” When the band celebrates their newfound fortune, the film makes the group perform a Williams song, as if to say, “Take that, Take That.”

 

This celebratory shiv will soon be followed by Williams, who drowned his success in a biblical flood of booze and Tony Montana-scaled cocaine indulgence, leaving the band and taking a suicidal drive down a highway to his gorgeous heartbreaker “Come Undone.” The scene is nightmarish, wrenching, and an effective metaphor encapsulating a life on the brink. Whether at peak success or the depths of self-loathing (not to mention all the bits in between), Better Man works completely. And again, we are talking about a movie with a CGI chimpanzee as our star.

 

The animators and VFX crew deserve a lot of credit for subtle touches that enhance the emotive qualities of their creation. Ever so slightly, the chimp’s face is given features just near enough to Williams’ own to add a layer of humanity. Most importantly, they also give the chimp Williams’ eyes, the tortured, braggadocio-filled windows to his soul.

 

So when Williams romances fellow Brit pop star Nicole Appleton (from the band All Saints) on a boat and shot in beautiful old-school musical fashion, we start to forget the chimp; we just see this creature whose visage reflects Williams’ self-view. In almost any other set of hands, one might be compelled to make a bestiality joke, but miraculously, not here. That song and dance number on the boat is as romantic and human as anything I’ve seen all year.

 

That scene becomes all the more critical as we see Williams’ career success take off and his personal life fall apart. As intelligent, as hilarious, and as charming as he is, he is also a relentless drug addict who can be viciously cruel and self-indulgent. Even at the moment of what was surely a career-topping success—headlining Knebworth to over 100,000 rabid fans—the full swing of emotions is on display. The performance begins with Williams’ patented opener, “Let Me Entertain You,” in what feels like a moment of great triumph, but inside, Williams is at war with himself. As the music plays on, the scene moves from the outward to the internal, and the internal is genuinely apocalyptic, as the VFX turns Knebworth into a desolate wasteland where Williams fights with versions of himself.

 

I know Better Man sounds wildly over-the-top, and there’s no denying that it is. Imagine a Baz Luhrmann musical that somehow doesn’t suffocate itself with twitchy, infuriating editing and slows down often enough to allow the story to unfold as opposed to fold you over. Let me put it more succinctly: Imagine a good Baz Luhrmann movie.

 

When Gracey does slow the movie down, such as the moment Appleton (played by the lovely Raechelle Banno) leaves Williams due to his many excesses, she shouts, “You’re so ugly when you’re wasted.” To which Williams dismissively replies, “I’ll be sober in the morning.” I shit thee not; it reminded me of the moment Diane Keaton leaves Jack Nicholson in Reds. There is genuine hurt and pathos in Better Man to go with the spectacular spectacle. Even more affecting is the sequence of Williams’ singing “Angels” over the gravestone of his grandmother, whose sudden decline Williams was removed from due to his wasted inability to answer his phone. I’m watching a CGI chimp sing a heartfelt ballad to his dead human grandmother, and I’m not thinking about the effects at all. It’s magic, I tell you. It’s f***ing magic.

 

The film closes with Williams singing “My Way” with his estranged dad (Steve Pemberton) in a gorgeous auditorium. The scene is beautifully staged but also smart enough to avoid playing as a full-on happy ending. Earlier in the film, Williams meets his songwriting partner, Guy Chambers (Tom Budge), who pushes Williams to dig deeper. To be more than a catchy creator of top 40 ditties. Chambers states, “Songs are only valuable if they cost you something.” Williams was willing to pay the cost. And because he was, we now have the looniest, bravest, and most confoundingly wonderful film of the year. A film that gets away with the lead character telling us if you don’t believe I’m the best in the business, to go “f*** yourselves.”

 

2024 has hit us with three genuinely bold musicals. The two and a half plus hour adaptation of Broadway’s Wicked. The Mexican cartel / break-into-song drama Emilia Perez. And just now, fashionably and suitably late to the party, comes Better Man. The ego has finally landed.

 

The pedigree of Wicked and Emilia Perez, the critical huzzahs and hosannas, and the many awards both are likely to receive when the envelopes are opened on Oscar night notwithstanding; I am here to tell you that Better Man is a better musical than either of them.

 

“f*** yourselves” if you don’t believe me.

 

Spread the Word!

 

https://thecontending.com/robbie-williams-a...pic-better-man/

I think it's a mistake with data but the movie's length here is 149 minutes but not 131/134 mnutes as usually noted.

Feb 1, 2025

https://firstsite.uk/event/better-man/

 

***

 

 

Review: “Better Man” better than most biopics, tracking one-time boy band star’s career

Singer Robbie Williams rise, fall – and rise—is an honest depiction with excellent emotional mix

 

By: Adriel Smiley

 

Rating: NNNN (out of 5)

Why you should watch: A tragic fall followed by a tear-jerking honourable redemption becomes a fun biopic where we see U.K. icon Robbie Williams how he sees himself.

 

ROBBIE WILLIAMS IS a fascinating superstar whose story deserves an adaptation to match. With over 75 million records sold worldwide, he is one of the best-selling musicians of all time, but his story is largely unknown on this side of the Atlantic. He rose to popularity in the ’90s as the youngest member of the U.K. boy band Take That, followed by a wildly successful solo career after leaving the group. At its core, this is an underdog story, and even in the scenes where Williams is larger than life, that feeling is not lost.

 

Director Michael Gracey takes a leap that lands gracefully. Known for his work on The Greatest Showman, the Australian filmmaker loves the surreal. The promo for Better Man includes Robbie being portrayed as a chimpanzee, thanks to CGI.

 

The chimpanzee works! Instant skepticism is impossible to ignore. The film’s first few scenes can only be described as dubiously entertaining. It’s as if Caesar from Planet of the Apes had the dream of being a famous musician instead of world domination.

 

The film focuses almost entirely on Williams’s time in the U.K., but his attempts to get stateside traction aren’t mentioned. Later on, the CGI chimpanzee pays enormous dividends. Music numbers with a little more colour feel like a better fit; a charming boy band with a monkey as its fifth member feels more fun.

 

Feeling underappreciated as a member of Take That, he struggles to find himself and a direction for his solo career. After Williams is respectfully asked to leave the group, he connects with songwriter/producer Guy Chambers to jumpstart his solo career. His excessive drug use is prevalent throughout the film, more of an overarching theme rather than a problem that needs to be addressed.

 

His challenging Liam Gallagher to a fight at the 2000 Brit Awards is part of a montage rather than an entire scene.

 

The heart of this film is its emotional dexterity, and the throughline of his trying to win his father’s approval is expertly woven into his personal success. Through the screaming fans and judgmental tabloids, his pain and anxiety are depicted so clearly that the success pulls at your heartstrings.

 

Biopics have taken on a new life over the past few years regarding the format. Pharell’s Piece by Piece is Lego-inspired; Bob Marley: One Love feels like a homegrown Jamaican film rather than a shiny blockbuster.

 

An honest depiction of the icon delivers an excellent mix of entertainment and emotions. This watch is worthwhile, even if you’ve never heard of Robbie Williams.

 

https://nextmag.ca/review-better-man-better...d-stars-career/

 

Here’s Why Robbie Williams Is a Monkey in 'Better Man' and Why It Actually Works

 

By Jake Dee

Published 14 hours ago

 

Released in limited theaters on Christmas 2024, Better Man is one of the most ambitious docudramas of its kind. The lofty $110 million production charts the life and career of famous British pop star Robbie Williams, employing the cutting-edge Weta digital FX to represent Williams as a tuxedo-dressed monkey. While jarring and hard to accept from the onset, the creative inspiration makes logical sense by channeling Williams' psychological state as he reflects on his past.

 

As Williams' fans ponder venturing to cinemas to watch Better Man, detailing the bizarre choice to represent the beloved pop singer as an anthropomorphic monkey will foster a better understanding of the movie's message. Far from just a silly audiovisual gimmick, here's how the movie came about and why Better Man excels due to, not despite, depicting Robbie Williams as a Planet of the Apes-like primate.

 

Michael Gracey (The Greatest Showman) directed Better Man from a screenplay he co-wrote with Oliver Cole and Simon Gleeson. The unconventional music docudrama charts the epic rise and tragic fall of Robbie Williams, the British pop star behind such albums as Life Thru a Lens, I've Been Expecting You, Escapology, Intensive Care, Reality Killed the Video Star, Take the Crown, The Christmas Present, and more.

 

Better Man was developed following an 18-month interview process between Gracey and Williams. The interviews were not initially meant to be part of the movie, but Gracey felt it was important for audiences to hear Williams tell his story in his own distinct voice. Most of William's narration in Better Man was lifted verbatim from the intimate one-on-one interviews, giving fans a rare glimpse into the pop star's psyche.

 

As seen in the provocative posters, Williams assumes an apelike visage in the film. The poster also recreates the album cover of Williams' 1997 solo debut album, Life Thru a Lens, commenting on his life in the public eye. In creating the monkey, Gracey turned to Weta Digital, the state-of-the-art FX company known for Planet of the Apes, Lord of the Rings, Avatar, and other monumental blockbuster movies. The result is a fresh, unique, wildly immersive experience with symbolic weight.

 

Better Man covers three decades in Williams' career, using fanciful visual flourishes to satirize the music industry, including Williams' pre-solo stint in the duo act Take That and a potential reunion. Discussing the odd choice to represent himself as a monkey in the film, Williams described the process to The Times:

 

"Super odd. Sat in make-up and the lady that’s playing your grandma is sitting next to you, and the people playing your mum and dad.”

 

While Williams narrates the adult version of his character, English actor Jonno Davies (Hunters) voices his younger version. Davies also performed in a motion-capture suit to bring the monkey's lifelike performance to reality. Between Davies' distinct physical command and Williams' familiar voice, Gracey brilliantly combined them into one seamless performance thanks to Weta's VFX contributions.

 

Regarding the music heard in the film, Williams recorded new versions of such hits as "Angels," "Let Me Entertain You," and "She's The One." According to Gracey via NME, Williams "re-sung" the hits to better fit "the emotional moment in the film." Williams also recorded a new song for the soundtrack titled "Forbidden Road," which was recently nominated for Best Original Song at the 82nd Golden Globe Awards.

 

Why 'Better Man's Monkey Metaphor is a Brilliant Choice

 

At first glance, the choice to represent Williams as a monkey seems like a novelty gimmick. Yet, as the film unfolds, it becomes clear that it was a deliberate symbolic choice to underscore Williams' experience in the limelight and the psychological tumult it has caused.

 

The term "Monkey Suit" often refers to a tuxedo worn by those in show business or the public eye who feel forced to perform, like circus animals, in front of rabid onlookers. Williams has famously described himself as a "Performing Monkey" during press interviews. Therefore, when Williams appears in a tux on the Better Man posters, a clear visual clue connects the thematic symbolism.

 

In exploring the chasm between how Williams views himself and how he is perceived publicly, Better Man allows the singer to tap into his vulnerabilities and express his feelings being exploited for entertainment. Feeling as though he must constantly keep up appearances as a public performer, the monkey represents how he has lost his sense of humanity over the past three decades. Williams wants to dissociate his true self from his public image, and the monkey distinguishes between his voice and his appearance to crystallize that very point. Once the film ends, Williams' loneliness, isolation, alienation, and existential emptiness become hauntingly clear.

 

Past the monkey as a metaphor for Williams' mental state, the striking CGI renderings mark a refreshing and much-needed departure from the stale biopic formula. With a new music biography or documentary seemingly released each year, Better Man separates itself from the pack by boldly using CGI to satirize the music industry. If nothing else, Better Man is a big, ambitious swing that honors and cautions life in the public eye. Better Man is playing in select cinemas.

 

https://movieweb.com/better-man-robbie-will...nkey-explained/

:D

 

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