‘Better Man’ review: All hail Robbie Williams, a chimp for all seasons

Cheers to Robbie Williams. The English singer-songwriter who made the leap from boy band to tabloid target to record-breaking solo artist has delivered once again. Better Man is a biopic that folds in hits from across his career — including “Angels,” “She’s the One,” and “Rock DJ” — to bolster the artist’s highs and lows. But Williams — in collaboration with writer/director Michael Gracey (The Greatest Showman) — has done something daring in the space of the music biopic, which has too often proved achingly clichéd, pandering, or downright dull. He’s turned himself into a literal dancing monkey. 

Better Man unfurls a tale of Williams’ hardscrabble youth in Stoke-on-Trent, his bad-boy years in the British group Take That, his substance abuse issues, rocky romance with a fellow pop star, celebrity feuds, and family dramas, all while portraying the singer as a CGI chimpanzee in the vein of the Planet of the Apes reboots. At first, it might seem a cheeky gimmick (or cheeky monkey) meant to hook audiences with the sheer oddness of the choice. But Gracey nurtures this concept, weaving together a collaborative performance with actors and the legendary VFX studio Wētā FX to create a uniquely moving portrait of an artist at war with himself. 

While the cadences of Williams’ story fall into a familiar pattern, allowing himself to be presented as a literal animal brings a fresh perspective and an enthralling blend of humor and vulnerability. This results in the best music biopic since the rousing splendor of Elton John’s Rocketman (which Gracey notably executive produced). 

Who plays Robbie Williams in Better Man? 

This is a complicated question. Williams lends his voice to the narration, the words of which were penned by Gracey, Oliver Cole, and Simon Gleeson from interviews with the sensational singer. However, in the flesh, English actor Jonno Davies (Hunters) shoulders the role, blending a physicality that is part hulking chimpanzee and part swaggering sex symbol. While everyone around him on set is in period costume, Davies wore a motion-capture suit with a small camera perched above his face to track his expressions. From there, Wētā built chimp Robbie using Williams’ own eyes (and various hairstyles) as inspiration. And the final touch: a voice that mixes Davies’ and Williams’ performances. All this blends seamlessly into a powerful performance that is one of the most surprising yet riveting of the year. 

In the narration, Williams introduces himself with a smirking tone and a slew of insults that have been lobbed against him. Davies picks up that rough exterior with macho posturing, but complicates it with goofball bravado in churlish outbursts, juvenile gestures, and a self-pleasuring bit that’s lewdly hilarious. But more than funny, Better Man is riveting because it embraces a warts-and-all approach that doesn’t shy away from Williams’ darkest moments. 

You might think that scenes about drug use, infidelity, and self-harm would be undercut by this furry gimmick. But by the end of the first sequence — in which a young Robert (Jack Sherran) has a rough day at the playground — the chimp device makes sense. The animation Wētā created is so emotive, the performance behind it so grounded, that it just works, not only in moments of drama, but also in truly epic musical numbers. 

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Better Man is stuffed with showstopping song and dance. 

As in Rocketman, Gracey employs songs anachronistically. For instance, Take That’s rise to fame is backed by “Rock DJ,” which is a hit from Williams’ solo career. This is not a glitch but a feature, as both films focus on the feeling of their story over cumbersome facts. This freedom to play Williams’ hits as they make sense in the story (versus when they came in his life) allows for electrifying sequences of joy, agony, and romance. 

In the case of “Rock DJ,” the young band celebrates their record deal by dancing together through several locations, from posh shops and double-decker buses to the streets of Piccadilly Circus, collecting more and more revelers along the way until the whole of London appears to share in their reveling. While this is perhaps the most ambitious musical sequence, among the most moving is “She’s the One,” where chimp Robbie performs a heartfelt duet while dancing a Golden Era ballroom number and dipping his female partner (Raechelle Banno) with eloquence that is utterly swoon-worthy. Yes, even when the leading man is a chimp. 

However, not every song is a celebration. And it’s in moments of anxiety that Better Man’s monkey gambit is most impactful. 

Robbie Williams’ self-saboteur is made literal.

Embracing the visual language of music videos (of which Gracey has directed many), Better Man blends realistic settings with surreal scenarios. So a car crash in the rain results in a nightmare sequence where chimp Robbie is plunged underwater, then swarmed by fans who tear at him for mementos and paparazzi whose blinding cameras make his struggle to the surface all the harder. More traditional moments are in the mix, like a montage of Williams’ magazine covers and music videos to chart his rising fame. But what might be a barrage of nostalgic or clichéd concert scenes is given fresh blood through bringing more chimp Robbies into frame. 

When he looks out into the crowd roaring in appreciation, among them he sees himself, scowling. At first, it’s one or two of his own faces staring back at him. But as Robbie’s self-doubt grows, his self-saboteur, who hisses he’s a failure, a fraud, unlovable, multiplies and becomes legion. The sharp cuts from the dancing chimp with his performative grin to the snarling doppelgängers, all reminders of an embarrassment or failure, hit like a gasp. Even when the world seems to be at his feet, Robbie is running from himself. And this builds to an internal war made external through a brilliantly vicious battle scene  that gives Planet of the Apes a run for its money. 

This poignant use of CGI animation is also surrounded by a terrific supporting cast. Whether it’s Steve Pemberton as Williams’ conniving deadbeat dad or Alison Steadman as his devoted grandmother, the actors bring a pulsing authenticity that makes this family, broken as it is, feel achingly real. This is all the more impressive considering they were acting opposite an actor wearing all that mo-cap gear. Together, cast and crew build a glorious complex look into the life a world-class entertainer whose arrogance and vulnerability are on balanced display. The result is a film that feels grandiose, outrageous, deeply personal, and joltingly relatable. It’s Billy Elliot meets Rocketman meets Planet of the Apes. And it’s so much more. 

Rich in vibrant emotion, body-rocking musical numbers, daring performances, and a scorching tenderness, Better Man more than rocks. It rules. 

Better Man was reviewed out of its Canadian Premiere at the 2024 Toronto International Film Festival. The film opens in select theatres Dec. 25, 2024 and nationwide on Jan. 17, 2025.