4.5 out of 5
Let’s be honest, we’re all getting musical biopic fatigue, aren’t we? There have been some fantastic and nostalgic dips down memory lane in the last five years, from the Oscar-winning Bohemian Rhapsody to the downright bonkers Rocket Man. But at what point do we say, ‘enough is enough’? I would have put good money on it being the CGI monkey-led Robbie Williams biopic, but Better Man may just be the surprise of 2024. Take That!
Better Man opens with a typical Robbie-style narration in which the Angels singer unapologetically admits he dabbles in being a ‘shit-eating twat’. However, what follows over the next 130 minutes very much feels like an apology letter to those he hurt along the way, including his younger self, Robert Williams. It also features a surprisingly raw portrayal of Robbie’s struggles with alcohol, drugs, and his troubled relationship with his father, reopening old wounds in order for everyone to heal. In fact, the whole story is so well navigated that you forget you’re watching a motion-captured, computer-generated chimpanzee… well, almost.
Better Man covers all the major milestones in Robbie William’s sensational rise from Stoke-on-Trent to Knebworth Park. Singing Frank Sinatra in his living room with his father, auditioning for Take That, his relationship with Nicole Appleton, his rivalry with Gary Barlow, breaking out as a solo artist, and all the pitfalls in between. Better Man is designed to make you laugh, cry, and shake your head in disapproval in equal measure.
I suspect that fans of Robbie Williams will take to Better Man like a duck to water. I'm not a fan but within the first five minutes, the cheeeky narrative and human-appeal of the story drew me in and held me in my seat. The wonderfully-choreographed dance numbers peak with a film-stealing rendition of Rock DJ and Michael Gracey makes sure to include all the hits, from She’s The One to Let Me Entertain You and more. We’re even treated to young versions of Take That quartet Howard Donald, Mark Owen, Jason Orange, and Gary Barlow – although we regrettably inform you that they are not played by jungle animals. Better Man is at its most vine-swinging fun when it embraces the bouncing nature of Robbie’s music and personality. But it is perhaps at its very best when shining a light on his life behind the scenes.
Recent biopics on Freddie Mercury and Elton John have already highlighted the dangers of alcohol and drug abuse in the music spotlight. Suffocated by the pressures of fame from an early age, Better Man serves as a vessel for Robbie to open up on his past struggles with anxiety and clinical depression – to which booze and drugs seemed like a temporary cure. Somehow, the clever use of a CGI character in his place allows us to disassociate the man from the performer. Even Williams himself admits that he has always seen Robbie as a mask of sorts. Even writing this review now, it is hard to explain the inner workings of why a chimpanzee-led Robbie Williams biopic just works – but perhaps it has to be seen to be believed.
While Johno Davies does a superb job as the voice of young Robbie – and the man behind the motion capture suit – a special mention must go to both Steve Pemberton and Alison Steadman. Pemberton embodies the devastatingly fame-hungry Peter Williams so convincingly, while Steadman effortlessly exudes all the heart and warmth of a Grandma constantly batting for her Grandson, no matter the odds. Raechelle Banno also treats us to some of the tensest scene-stealing moments that Better Man has to offer in her role as Appleton.
So, what next? The Ed Sheeran Story, with the titular character played by an orangutan? Taylor Swift as a gibbon? Rod Stewart as a baboon? Is it too late to swap out Timothée Chalamet for a marmoset in A Complete Unknown?! Whatever the case, Robbie Williams has once again proved that he is the ultimate entertainer – but he is an entertainer with a story.
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