Better Man

Better Man is how biopics should be told if their subject is still around as it tells Robbie Williams story from his perspective in every aspect, from his own narration infused with boat loads of northern charm to the biggest swing it takes in the form of the CGI ape taking centre stage as a perfect metaphor for the way he sees himself. It's refreshingly honest and deeply personal with big Rocketman vibes and a high energy it sustains from the moment it arrives.

This is a story about the perils of being addicted to the spotlight and the emotion that comes attached to it is only enhanced by the performance capture and visual effects employed to bring this less evolved Robbie Williams to life. It's not like most other lead performances in biopics since Williams himself is present in the narration and songs, so it becomes a case of his work and Jonno Davies' seamless performance moving as one.

Michael Gracey's direction confirms that he's got a gift for directing musicals by making them as visually dynamic as possible. The musical numbers are so inventive and do some truly insane things that work beautifully because of how they help to tell the story and communicate everything Robbie is struggling with as it goes along. There's a lot of speedy transitions contained in them as well which really helps to maintain the energy.

I think how you view this film might depend on whether you have a bit of empathy or familiarity towards Robbie Williams, or at least like his music. If you don't have that empathy, or familiarity with his tunes/background, then this is more a saga about what the music scene, some years ago (and maybe now?) can do to an individual.

On the other hand, you could also view this as one "oh dear, look at me and how hard I found fame, given my tough background" self indulgent mea culpa.

I have to say, though, I enjoyed it. I think I must be on the empathetic, like the music side of things.

The idea of having a CGI monkey is excellent, if Robbie, or a look alike (maybe it is one) had starred, it would have felt far more self indulgent. As it was, it was watchable, well written and directed.

The film was, however too long (by about 15-20 mins), the middle too repetitive, and the ending too schmalzy. Still, the music is good and, generally not overdone (I hate musicals).

Worth a watch.

There's something about the use of the monkey to characterise Robbie Williams that makes this quite a visceral watch at times. The film tells the story of the fairly turbulent rise of this "Take That" singer from boyhood exponent of Gilbert and Sullivan to a man on the right end of an £80 millions record deal. His dad (Steve Pemberton) went off to a football match whilst he was a child and never came back, and that left him with his mum "Janet" (Kate Mulvany) and adoring nan (Alison Steadman) living a pretty much hand to mouth existence and leaving him with a pretty solid foundation for his later emotional and trust issues. Unless you've lived on the moon these last twenty years, then you'll know much of what happens next. What does make this stand out a little more is the fact that Williams himself is behind the project and is in no way afraid to portray himself as a complete ass. His drink, drugs, tantrums and generally spoilt brattishness are laid bare with little, if any, attempt to sanitise. In some ways it reminded me of the recent "Amy" biopic and came hot on the heels of a recent viewing of "Easter Parade" (1948) with both serving, for completely different reasons, to augment the thrust of this story of a person who attained great stardom, success and wealth - and ultimately ended up with addictions galore and few, real, friends amidst a sea of hangers-on and parasites all too eager to selfishly cash in on the fame of a lad who started aged just fifteen. Of course it's not exactly balanced, and I'm sure the gospel according to Robbie might not be quite how others see their own behaviour (or his) but there is an honesty to this that brings home just how ruthless the music business is and at just how fickle fame can be when those we idolise lose their lustre. It doesn't do it any harm that many of his solo songs work well through big screen audio with some classy string arrangements and powerful vocals to remind us that, unlike many of the largely forgotten "Take That" singles, his music - especially the stuff he made with Guy Chambers - is the stuff we will really long remember. It's not for the faint hearted, but still well worth a watch.

I wasn't sure what to expect from this movie but went with an open mind. I'm not a massive RW fan but like his music and was intrigued by the premise of Robbie Williams being portrayed as an ape in a film about his life story - er, excuse me?

As a result, you know this won't be a conventional biopic but you soon get used to Robbie the ape and the story moves along in fairly chronological order telling you key moments in his life. The movie is visually spectacular in places and the special effects are very good. The telling of the story gives added poignancy to some of his song lyrics and the music is used to good effect throughout (I left the cinema with some of the songs stuck in my head).

You don't have to be a big Robbie Williams fan to enjoy the film but if you don't like his music, or him as a person, this film is probably unlikely to win you over. The only criticisms I'd make is the amount of swearing in a movie that's rated 15 - it seemed a bit unnecessary and the story lags in a few places. Other than that, it's surprisingly good.

Never a big fan of Robbie Williams, but I am the right age to have seen most of the public events of the film unfold and I did really end up enjoying this film.

From an early age, Robbie Williams (Jonno Davies) is told two conflicting ideas. His father Peter (Steve Pemberton) is a small-time singer and comedian and tells him that you have to be a star, or you're nothing. And also, by guidance councillors and bullies, that he has no talent and won't amount to anything. He takes his desire to show off and auditions for a new boyband being put together in Manchester. Take That become a nationwide phenomenon, and whilst it's not professionally satisfying for Williams, it does give him money, booze, girls and drugs. When the excesses become unmanageable, he's asked to leave the band and decides to become a solo artist and though success arrives there too, his demons are never too far behind.

It's hard not to start by talking about the films U. S. P - that throughout the story, Williams is played by a CGI chimpanzee. I thought this ended up really working in the films favour, as it allows for versions of the character to be extra vulnerable, cheeky and, in particular, scary as the film goes on. The CGI work is really well done too, maybe because there's always a sheen of otherworldliness to it anyway. If you're concern was that the monkey might infantilise the rest of the film, he does not. There is copious amounts of sex and drugs and perhaps the most prolific usage of "the C word" I've enjoyed in a film for a while.

Away from that it's what is perhaps a fairly common musical biopic, success leads to temptations, leads to problems and ultimately a redemption. It's a fairly clear theme of the film that Williams was going to live this sort of life of excess regardless of what he did for a living, it's just that the musical success gave it to him earlier and to a scale he couldn't have possibly imagined.

There are some excellent performances from humans in the film too, particularly Alison Steadman, as his doting grandmother and Steve Pemberton, as the father whose career, and early departure from the family home have a massive effect on his life.

I enjoyed it. I thought it was funny and well made and the choreography on the dance numbers are excellent.