The new film based on the life and career of Robbie Williams is out in cinemas now.
The Telegraph: **** “The Take That singer’s decision to tell his life story via a CGI chimpanzee may seem stupid – but it’s utterly inspired”
The Guardian: *** “The film is interestingly candid about the toxic, driving force of envy behind a musical career – something many music biopics omit – but in the end, however initially startling and amusing, Robbie-as-chimp feels like a distraction from his all-too-human unhappiness and talent.”
The FT: **** “Of course, the story arc eventually curves up, but the movie is quite the one-off: a crowd-pleaser that feels like singing along to a psychiatric report.”
The Wrap.com: “It works because “Better Man” wears its artifice completely on its sleeve, never once pretending that this is the “real” Robbie Williams story. I’m sure there’s a lot like his real life, but it’s just so much easier to accept a film’s flaws when the film is never quite “real” enough that its fakery can ruin the illusion. Because in “Better Man,” the illusion is that this is the Robbie Williams story at all.”
Roger Ebert.com: **** “Where “Better Man” threatens to lose steam is when it apes the structural patterns of other music biopics: the rise-fall-rise of his success can get a little repetitive in theory, as he forges his musical identity, engages in his own Lennon-McCartney feud with Take That fremesis Gary Barlow (Jake Simmance), finds and loses love, and claws back to the limelight. But Gracey fusses with the staging to keep us interested.”
Rolling Stone: “Seriously, Better Man puts the PTSD back into “pop stardom,” and frames the entire notion of fame less as a reward for talent and artistry and more of a pathological condition made manifest.”
Time Out: ***** “Most rock biopics can be hagiographic to a fault; this one sees Williams airing all his dirty laundry. What makes it so endearing is that the singer takes accountability for his actions. In fact, sometimes it feels like he beats himself up a bit too much for the folly of his youth.”
Variety: “With “Better Man,” the musical maestro adds ridiculously complicated technical challenges to his résumé — like the jaw-dropping “Rock DJ” number staged in London’s busy Regent Street, shot over four days and stitched together to look like a single unbroken take, or the “Come Undone” sequence where he speeds away from the boy-band breakup, nearly smashes his car into an oncoming bus and plunges into a sea of paparazzi. These set-pieces deliver essential emotional information in unimaginably dynamic ways, leaving traditional tuners in the dust.”
Empire: **** “Despite its darkness, the whole film is cheeky, consistently undercutting itself, taking the piss, upending expectations. Even with familiar beats – the rise to fame, the dreaded comedown, the life-threatening addictions – it never feels rote, fully swerving the curse of Walk Hard, leaving other music biopics for dust.”
Radio Times: **** “The Robbie Williams biopic is an honest, entertaining and endlessly endearing spectacle that seems certain to play well with a crowd.”
The Independent: **** “It’s not a gimmick to have the former Take That member embodied by a ‘performing monkey’ in his new movie – and this film doesn’t shy away from the star’s trauma, addictions or penchant for self-sabotage.”
Better Man is out in cinemas now.