Rating 6/10
I actually saw Robbie Williams perform at Bimbo’s 365, an intimate San Francisco nightclub, way back in June 1999. He was a household name in the UK, thanks to his success with the boy band Take That and a flourishing solo career. In contrast, he was — to borrow from another recent music biopic — “a complete unknown” in the U.S. This tour was an attempt to break him into the American market. His hit “Millennium,” with its looping samples from the James Bond theme “You Only Live Twice,” was getting some airplay on MTV. He sang that among other things. It was an entertaining show, but he would face challenges stateside. He never managed to replicate his European stardom in America.
Fast forward 26 years, and I’m now reviewing a musical drama about the pop superstar, narrated by the man himself. The film makes an odd creative decision by using CGI to portray Williams as a rather ugly-looking chimpanzee. I figured this was a metaphor for the artist feeling like a “performing monkey,” though the movie never explicitly explains this choice, so draw your own conclusions.
Our story begins in 1982, when a young Robbie discovers his love for performing in his hometown of Stoke-on-Trent, England. The narrative charts his meteoric rise to fame with Take That, delving into his clashes with bandmates (Jake Simmance, Liam Head, Jesse Hyde, Chase Vollenweider), fights with management (Damon Herriman), and eventual departure to pursue a solo career. The depiction doesn’t shy away from his demons, including substance abuse, his inability to handle the pressures of fame, and suicidal tendencies. Not a traditional musical, the account takes a different approach under the direction of Michael Gracey (The Greatest Showman). The soundtrack features re-recorded versions of Robbie Williams’ songs, performed by the artist himself. These tracks are woven into the chronicle to highlight key moments in his life.
As the narrative unfolds, we see the entertainer coming to terms with his identity as a global superstar but still feeling like a fraud. His journey follows a predictable trajectory, hitting rote notes on the perils of fame: infidelity, stints in rehab, and turbulent relationships with family and friends. His father’s (Steve Pemberton) departure during his childhood is a difficult trauma, but his grandmother (Alison Steadman) is an uplifting force, always believing in him. The saga culminates in a redemptive moment where Williams reconciles with his father on stage and his mother (Kate Mulvany) in the audience. This reunion is presented as a symbol of his healing and growth—seemingly intended to make us forgive and forget all the emotional damage he inflicted on everyone around him.
This is a brutally honest biography that bewilderingly has the full cooperation of Williams himself. The singer is not portrayed as a saint or even a particularly likable character. Instead, it offers an unflinching look at his flaws and the consequences of his actions. In that sense, this approach is not unlike Bob Fosse’s All That Jazz, a similarly raw and unvarnished exploration of a self-destructive individual. However, while All That Jazz doesn’t require you to like its subject, Better Man culminates with a saccharine ending that begs a different response.
As an American who is less familiar with Robbie Williams’ persona, I found it challenging to connect with a protagonist who is so repellent. Perhaps I am not alone. The movie earned $12 million worldwide, against a reported production budget of $110 million. That said, die-hard fans might find more to appreciate in this soul-searching memoir. Better Man is an ambitious attempt to tell his story in a way that is unconventional and candid.
01-14-25
8 Responses
An ugly person as an ugly monkey was a bad choice. Voice wasn’t good enough to wow and songs were just ok. It took until the last 10 minutes where he becomes a better man. I didn’t like it. 🙈 2 🌟
Agreed. You can’t just wave a magic wand at the end and say, “Ta-da!” I’m a better man now. It was too little too late.
Hey Mark, I appreciate it your review. Having been someone who also went to that bimbo’s show, I was always a little sad that he never caught on here in the States. As far as the monkey thing, at first I kind of thought he did it because he’s always considered himself a cheeky monkey, but I heard that he mentioned being a performing monkey was the reason for his choice, so I guess that’s just him being a little sassy. I’m definitely looking forward to seeing it, but your review implies that the story takes precedent over the music, and honestly I would prefer a the music be the main focus with these biopic type films – even if it does make it a bit formulaic (a la Walk Hard the Dewey Cox Story). It’s why I watch these types of movies.
I am anxiously anticipating your take because you are a fan and will probably notice things about the movie and music I didn’t.
Robbie William’s chimp movie would have been better served if it was released on Netflix or a similar platform. The idea of a limited North American distribution for a basically unknown artist in self indulgent effort was ludicrous. Note a couple of things: Robbie remains gratingly egotistical in his movie promotion calling himself one of the world’s greatest pop artists. Robbie who?? The movie would be better served on another platform where the public can sample Robbie and make their own decisions. Also, much of the musical work, as this is about a musician, is derivative or straight out copied. Robbie seems destined to languish on Brit guest show Telly.
You raise a valid point. A streaming service like Netflix could indeed have allowed the movie to reach a broader audience, particularly in territories where Williams isn’t a household name. Streaming offers a lower commitment for viewers. This aligns with how documentaries like Miss Americana (Taylor Swift) and Homecoming (Beyoncé) have reached global audiences.
Well I thoroughly enjoyed it.
Some brilliant ideas and scenes, though maybe a tad long.
For me, a far better watch than the Bob Dylan biopic.
Better Man has its moments, but I found A Complete Unknown to be far superior. It’s a film with staying power, deserving of its Oscar nomination for Best Picture, and featuring a performance that will stand the test of time. By contrast, Better Man, entertaining as it may be, feels more like a passing curiosity starring a CGI monkey.