Better Man

Let me say about some reaction on the movie in Russia. - Well, everyday there are about 70 screenings and around 45 cinemas only in Moscow, while I do know that different parts of the country (even some small cities) shows Better Man. - It doesn't matter all of these cinemas are full - no, but I glad to see that our promoters are trying to make this movie successful and noticeable. Frnakly speaking there are not many foreign films get its official release in our country nowadays. How to say it better... Well, many foreign films are purchased from Kazakhstan, Armenia, etc. or have their screenings non-officially. Yep. Better Man is is one of the unique exceptions because it's an official release and I am very grateful for it. Feel the big luck here. There are almost no adverts on TV because current situation is not about promoting the foreign stuff but I've seen small advert anyway! How cool it is!! Regarding Internet there are plenty of banners, so it's OK. - Then, we have a website aka our IMDB. Really great source I do like and use during last 15-20 years. It's called Kinopoisk (https://www.kinopoisk.ru/film/4965186/votes/). It's very interesting that the current mark for Better Man there is 7.7 too, as on IMDB. Maybe it will be interesting for you to know this data too: Average mark is here (1200 votes by now). Interesting point that people under 18 years give the highest mark - av 8.00. Also women like this movie more than men - 8.26 vs 7.62 (men). And again, there some voters came not from Russian users while Russian watchers give av 7.95! Regarding exact marks it's very interesting to see there are almost no the marks like 5 or 6. For me it means the film leaves no one indifferent. - There are not so many reviews in Internet - I have found arount 7 or 8 articles but mosly they were positive (5 of them). gT-L2XR22sU - Well, waiting for the Box Office results from day to day. But let me say again, it's very difficult to look at the figures ($) in our country where we mostly have a propoganda of the local movies nowadays (in the past we have a strong propoganda of US movies) Aslo don't forget about the fact more people prefer (sometimes it's only one opportunity) to watch the foreign movies at home. Aslo we also do have winter holidays and there are very long (since Dedember-30 to January 8) so families would prefer to go for other stuff. But seeing such good response on Better Man from people who have already watched it makes a big sense!

Of course, you heard about Better Man's including to a longlist of BAFTA awards. But I'm really surpised and upset there is only for one nomination. Yes, I remember it's more Australian movie but there is more connection to UK than many others... Anyway, here is a full longlist: https://awardswatch.com/2025-bafta-longlist...british-voting/ SPECIAL VISUAL EFFECTS 10 films will advance in the Special Visual Effect category. Members of the SVFX chapter vote to determine the longlist and the nominations. In the final round of voting, all film-voting members will vote for the overall winning film. 82 films were submitted for consideration. A supporting Statement and a show-reel of the SVFX work (up to five minutes in duration) can be submitted and are published on BAFTA View. Alien: Romulus Beetlejuice, Beetlejuice Better Man Civil War Deadpool & Wolverine Dune: Part Two Furiosa: A Mad Max Saga Gladiator II Kingdom of the Planet of the Apes Wicked @1875320586978914455

So, Forbidden Road is out of BBC Radio 2 playlist since yesterday after 6-weeks of A-status. But since yesterday we have Better Man OST as the Album of Week. 4th - 10th January A LIST Alex Warren with Joe Jonas - Burning Down Coldplay - ALL MY LOVE plus Tracks from Moon Music Deacon Blue - Late '88 Franz Ferdinand - Night Or Day Griff - last night's mascara Myles Smith - Nice To Meet You OneRepublic feat Jelly Roll - Hurt Rag’n’Bone Man - Put A Little Hurt On Me Sam Fender - People Watching Various Artists - Tracks From Wicked: The Soundtrack B LIST Auli'i Cravalho - Beyond Blossoms - Gary Janet Devlin - Best Life Keith Urban - Chuck Taylors Kim Wilde - Midnight Train Reverend & The Makers - Late Night Phone Call Sabrina Carpenter - Tracks From Short n’ Sweet Shed Seven - All Roads Lead To You U2 - Luckiest Man In The World Will Brown - Better Man C LIST Elbow - Adriana Again Emeli Sandé - Roots First Time Flyers - Out Of Your Mind Nectar Woode - How It’s Gotta Be Timothée Chalamet - Tracks From A Complete Unknown RECORD OF THE WEEK Kim Wilde - Midnight Train ALBUM OF THE WEEK Robbie Williams - Better Man https://www.bbc.co.uk/programmes/articles/2...-music-playlist

:D https://dreameshirt.com/product/official-be...y-film-t-shirt/ Official Better Man Robbie Williams A Michael Gracey Film t-shirt $22.99

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/

We do know about difficulties of Rock DJ shooting but here is collecting of the facts and notes from Michael's interview. https://uk.movies.yahoo.com/movies/robbie-w...eGWuDSwLspxz9YN

https://dailysoapdish.com/flamboyant-pop-st...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/

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/

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/

hU2_x2CtcVQ Rob teases that this time Australian leg can be even bigger than his 2006 leg there. But it depends on the movie's success, so he didn't mentioned the time frame when he will back in Australia with concerts. Very kind interview between friends... and this additional words in the end in studio... They really love him.

Some interviews for Arabic and Indian media 36DM_BLGrP8 ohmEAzTWEOQ

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/

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.

Good review on FR OzBiaUF1l8I

The album comprises 13 songs, including his past smash hits “Feel”, “Something Beautiful”, “Rock DJ”, “Come Undone”, and “She's the One”, featuring Carter J. Murphy, Steve Pemberton, Tom Bales, Adam Tucker, and Kayleigh McKnight. Produced by Dan Romer, Eden Prince, Juan Ariza, Freddy Scott, Jason Hill, Chris Read, Darek Cobbs, Adam Blackstone, Jacob Collier, Hal Rosenfeld, and Freddy Wexler. The artwork for the soundtrack is an homage to his debut solo album cover, "Life Thru a Lens”. “Forbidden Road” from the soundtrack is nominated for Best Original Song, Motion Picture at the 82nd Annual Golden Globes. The film “Better Man” was directed by Michael Gracey. In the film “Better Man”, Robbie Williams is portrayed as a chimpanzee with CGI, featuring Jonno Davies played as Robbie Williams (motion capture), and Adam Tucker on Robbie Williams' vocals. Director Michael Gracey said of the film, “In the film, the voiceover... about 80% of them are from those original recordings that we did, and they're not scripted, they were just a conversation and I then edited those conversations into the film that you're about to watch, and they form the basis of the first script.” He continued, “But I found a unique way to tell this story and after listening back to the recordings, there was a reoccurring statement that Rob (Robbie Williams) would make about performing. And he would say 'yeah, tell me about it, I was off my head, they dragged me up on stage and I'd perform like a monkey'...” He added, After a while, I thought, 'Wouldn't it be amazing to represent Robbie as a monkey in the film?' Because Robbie is telling this story - and that's how he sees himself.” Adam Tucker said, "You spend so long grinding away trying to get the next gig, so getting the part was one of those pinch-me moments. I went to the London premiere and hearing my voice play out across the cinema was amazing." Robbie Williams said of Jonno Davies, “He's such a lovely person, and he's immensely talented. Watching him do his thing - which is my thing - was very interesting, confusing, wonderful, and a weird thing to watch. He's amazing.”

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/

38th nomination. Critics Association of Central Florida Awards Best Hybrid Performance Robbie Williams, Jonno Davies - Runner-Up http://www.centralflcritics.com/

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/

It's good to see some new reference of Intensive Care in 2025 year. By the way, there is 20-years anniversary of that album this autumn... Wow! Remembering the fact there are around another 15-20 songs more were recorded during that period would be great to get this Bonus CD at one point...

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.

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I highly recommend you to watch this video - it's Q&A in Melbourne yesterday. Robbie was very funny there. Vl243QoOgkg

Well, that's the stats in US yesterday. Again, all will be more clear in 2 weeks. Let's see how many cinemas it will get. You can compare that some big movies have 3000+ cinemas per day. I think if Better Man will get even 500 cinemas we will see the good effect. Interesting that one of the best movie of 2024 (The Count of Monte-Cristo) almost doesn't have any cinemas while September 5 (also Paramount) have not big figures while have almost the same quantity of cinemas like Better Man at the moment.

Yes, Liz, sure I will. While ladies posted also reliable information about box office. Just hoping for a bigger boom with screenings. UxV03sQoZ5o