16 Sep TIFF REVIEW – ‘Better Man’ is as bold, brash, and wildly entertaining as its subject
The music industry is a funny thing. A musician can be one of the most recognisable people imaginable in one territory and a relative unknown in another. Such is the case with Robbie Williams; a popstar of the highest level of fame and success in places like the United Kingdom (seven #1 singles and 13 #1 albums), Europe, and my home country of Australia. Yet, in the United States, he could likely stroll down the street and few would bat an eyelid. Pretty wild for someone who has sold 75 million records worldwide.
After more than three decades in the biz, it’s time for the inevitable Williams music biopic. However, much like the man himself, Better Man is no ordinary biopic, and that’s clear from the moment the superstar appears not as the singer himself but as a CGI chimpanzee. Directed with impressive flair by Michael Gracey, the film boldly departs from traditional storytelling, choosing instead to delve into the surreal to explore Williams’ tumultuous life and career. The result is an ingenious biopic unlike anything you’ve seen and one that’s as bold, brash, and wildly entertaining as its subject. A blend of humour, poignancy, and oddball charm that doesn’t shy away from its subject’s darker moments, this is a superb crowdpleaser.
At its core, Better Man tells the story of Williams’ rise from Take That heartthrob to global pop phenomenon, with all the highs and lows that fame entails. As a CGI chimp, Williams navigates the overwhelming pressures of celebrity life, from his battles with addiction to his struggles with mental health and self-worth. Alongside him are key figures in his life, from his wannabe singer father, Peter (Steve Pemberton) and beloved grandmother, Betty (Alison Steadman) to the rotating figures of bandmates, friends, and industry figures. While the concept of Williams as a chimpanzee is undeniably bizarre, it offers a surprisingly effective lens to dissect the dehumanising nature of fame.
The narrative doesn’t shy away from Williams’ demons. From his strained relationships with his often-absent dad to his infamous run-ins with the tabloids and substance addiction issues, Better Man captures the chaotic, often isolating world of a star who never quite felt comfortable in the spotlight. Yet it also celebrates his wit, his resilience, and the deep connection he shares with his fans, offering moments of levity and charm that balance the darker undercurrents.
One cannot discuss Better Man without addressing its central conceit: the CGI chimpanzee. It’s a move that could easily have been disastrous, but Gracey and the wizards at Wētā FX somehow make it work. By turning Williams into a primate, the film externalises the alienation he has felt throughout his career. The disconnect between his public persona and private turmoil becomes viscerally clear, and the animated depiction underscores the absurdity of the entertainment industry’s relentless machine. He’s long seen himself as a performing monkey and crafting his biopic in such a way is the very manifestation of that metaphor.
That’s not to say the choice will land with everyone. For some viewers, the chimpanzee analogy might feel heavy-handed, even distracting. There are moments where the gimmick overshadows the story, pulling attention away from the emotional beats. Yet for those willing to embrace the absurd, it offers a unique way of reimagining the tired biopic formula, infusing the film with a playfulness that echoes Williams’ own irreverent humour.
The CGI itself is impressively detailed, with the animators capturing nuances in Williams’ expressions and body language that humanize the otherwise fantastical depiction. Impressively brought to life by Jonno Davies and his fully committed motion-capture performance, the film creates a character that feels both familiar and otherworldly—a fitting representation of a man who has always seemed larger than life yet acutely vulnerable.
Where Better Man truly shines is in its ability to balance the comedic and the heartfelt. Gracey leans into Williams’ sharp wit, peppering the script with zingers and self-deprecating humour that will leave fans grinning. Yet beneath the laughs lies a deeply affecting story of a man grappling with his inner demons. The film doesn’t sugarcoat Williams’ struggles with addiction, his battles with anxiety, or his contentious relationship with the media.
One standout sequence sees the chimpanzee Robbie breaking down during a pivotal Take That reunion, a moment rendered heartbreaking through both the animation and Williams’ raw voice performance. Gracey smartly contrasts this with scenes of electrifying concert footage, reminding viewers of the sheer joy Williams brings to his fans even as he struggles offstage. The juxtaposition creates a nuanced portrait of a star who has always been as much about vulnerability as bravado.
Yet the film’s narrative isn’t always as seamless as its emotional beats. At times, Better Man meanders, particularly in the middle act, where it feels like the script loses sight of its focus. Some subplots, like his complicated relationship with girlfriend and All Saints singer Nicole Appleton (Raechelle Banno), could have benefited from more screen time. Still, Banno deftly handles some of the film’s heavier emotional beats as Appleton tries desperately to get the chaotic Williams to settle down and start a family.
It’s always difficult to create an effective performance through the use of motion capture, but Davies knocks it out of the park with a turn filled with emotional depth and a physicality that captures the very essence of Williams, even behind the primate CGI. It’s a tremendously empathetic performance that showcases how far we’ve come with this kind of technological marvel. There’s so much humanity and heart to everything Davies is delivering.
While the spotlight remains firmly on Williams, Better Man boasts a strong supporting cast that elevates the film. Damon Herriman is a standout as Nigel Martin-Smith, portraying the music manager not just as a guiding hand but as a deeply empathetic figure in Williams’ life. Steadman brings a grounded warmth to Williams’ treasured Nan, who is the popstar’s rock and fiendishly dedicated champion but also the one person who knows him better than anyone.
And, of course, there’s the “Robbie Effect.” While he never appears on-screen, Williams acts as the film’s narrator, injecting his biography with the same charm, humour, and vulnerability that have endeared him to fans for decades. Even as just a voiceover, Williams’ charisma is undeniable. It’s a testament to his larger-than-life personality that he can command the screen even when he’s not physically on it.
Visually, Better Man is a feast for the senses. Gracey brings the same flair he showcased in The Greatest Showman, blending vivid concert recreations with surreal dream sequences that mirror Williams’ psyche. The use of colour and lighting is particularly striking, with the film shifting from warm, vibrant tones during moments of triumph to colder, muted hues in scenes of despair. The electrifying “Rock DJ” sequence is utterly mind-blowing and one of the best you’ll ever see in a big-screen musical. And the decision to use “She’s the One” as a beautifully choreographed waltz between Williams and Appleton is a true stroke of genius.
The soundtrack, naturally, is a highlight. Packed with Williams’ greatest hits, from “Angels” to “Let Me Entertain You,” the film uses music not just as a backdrop but as a storytelling device. Each song feels carefully chosen to underscore key moments in Williams’ journey, creating a narrative rhythm that mirrors the highs and lows of his career. And, unlike most music biopics, they’re not used in chronological order, which just cements Gracey’s vision as something completely original.
As the credits roll, Better Man leaves viewers with plenty to chew on. It’s a film that defies easy categorisation, blending humour, heartache, and surrealism to create a portrait of fame that feels both specific to Williams and universally relatable. While it’s not without its flaws, its boldness and emotional resonance make it a standout entry in the biopic genre.
Ultimately, Better Man is a celebration of Robbie Williams’ singular career and the complexities that come with it. It’s a reminder that behind every headline, every tabloid scandal, and every arena tour is a human being wrestling with their own sense of self. And for all its quirks and eccentricities, the film captures that humanity beautifully. It might be a little weird, but then again, so is Robbie, and that’s what makes it work. Let him entertain you. You won’t be sorry.
Distributor: Roadshow
Cast: Robbie Williams, Jonno Davies, Steve Pemberton, Alison Steadman, Damon Herriman, Raechelle Banno
Director: Michael Gracey
Producers: Paul Currie, Michael Gracey, Coco Xiaolu Ma, Craig McMahon, Jules Daly
Screenplay: Simon Gleeson, Oliver Cole, Michael Gracey
Cinematography: Erik A. Wilson
Production Design: Joel Chang
Costume Design: Cappi Ireland
Editor: Jeff Groth, Spencer Susser, Martin Connor, Lee Smith, Patrick Correll
Music: Batu Sener
Running Time: 135 minutes
Release Date: 26th December 2024 (Australia)