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The Craziest Musical of the Year Is Finally Here
Trying to describe the Robbie Williams biopic Better Man, one sounds like a lunatic.
Better Man gives us an occasionally fictionalized overview of Robbie Williams’s life and career, from his beginnings as a show-offy working-class kid from Stoke-on-Trent (“the ass end of the north of England”), to his unlikely stardom as a member of the 1990s boy-band Take That, to his stratospheric success as a solo artist. Gracey interweaves their ensuing duet with future episodes from their doomed, whirlwind romance (which would, in real life, last barely a year) – their hard partying, their engagement, as well as the abortion Nicole is forced into by her record company so she can continue to front a popular girl-group. There’s an interesting juxtaposition here: a paint-by-numbers biopic structure, neatly bookmarked (to a fault) with pat dialogue about the perils of fame and the double life of stardom and abandonment issues and whatnot, which is then constantly upended by completely batshit musical sequences.
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