[Film Review] Marty Supreme

After dropping two modern classics of stressful cinema with his brother, Benny Safdie, in Good Time and Uncut Gems, Josh Safdie goes the solo route for Marty Supreme. I’m happy to say that he brings the energy to match here. This thing is gritty, brash, audacious, and compulsively addictive, and it features a fully-game leading performance from Timothée Chalamet. 

Set in New York City during the 1950s, the plot revolves around Marty Mauser (Chalamet). He has one mission: To be the best table tennis player in the world. The problem? He’s a screw-up in pretty much every area of his personal life. To go any further into plot details would be divulging too much, but it’s safe to say that Marty’s path to greatness is filled with more than a few hiccups.

Immediately striking is this film’s lived-in atmosphere and Safdie’s portrayal of New York’s underbelly. It feels illegal. It feels like it’s out of code. You can practically taste the asbestos. Josh Safdie populates this world with a roster of seedy characters who are mostly just out for themselves. Despite taking place in the 50s, the film boasts an 80s-themed soundtrack and score. This clash of eras works well for a film that incessantly thrives on chaos and combativeness. 

The screenplay is messy in the best way. As expected, characters frequently shout over each other while tempers erupt. The narrative is a zippy whirlwind of mishap after mishap. Hustle after hustle. Scam after scam. Disaster after disaster. Nothing ever comes easy. And nothing is ever exactly what it seems. There’s always something that goes wrong. There’s always something in the way, and most of it is self-inflicted. Like Adam Sandler’s character in Uncut Gems, Marty isn’t just running from his past; he’s running from stuff that happened two minutes ago. Here, Safdie flips what might initially seem predictable into the unpredictable, which keeps the thrills at an elite level. 

Timothée Chalamet is terrific in a tour de force turn, approaching the role with the same focus and tenacity that Marty brings every time he enters a table tennis match. It’s a performance that feels fittingly competitive and relentlessly dedicated. He impressively embodies the character in a way that’s reminiscent of how Robert Pattinson disappeared into his role during Good Time. Chalamet is also surrounded by a stellar group of supporting players. In a more conventional move, Gwyneth Paltrow is cast as a former movie star, and she plays the part well. Odessa A’zion, who was great in season one of HBO’s “I Love LA”, continues to shine as Marty’s risky flame. And then there are the curveballs. Hip-hop star Tyler the Creator is exuberant as Marty’s close friend, Knicks superfan Luke Manley proves to be a natural, and even “Shark Tank” personality and flashy businessman Kevin O’Leary gives a tremendous performance. Safdie has a knack for generating great performances from unlikely candidates, and he continues the tradition here. He also casts cult indie filmmaker Abel Ferrara in a significant role as a gangster of sorts. Ferrara's presence fits perfectly within this setting, and you can’t help but think of it as a winking homage, as Ferrara’s cinematic influence is scattered and painted all over this film. 

Marty Supreme is a film that leaves blood, sweat, and tears in its path, and I don’t just mean figuratively. The price of greatness? Well, it’s everything. 

* 9.5/10 *

[Film Review] Jay Kelly

Ah, the aging movie star. The price of fame. Public persona versus the real person. 

These are familiar themes in the world of Hollywood, and director Noah Baumbach shines a spotlight on them in his latest Netflix-released film, Jay Kelly. Here, he casts George Clooney in a leading role that seems specifically made for him and no one else. 

The plot revolves around the titular character (played by Clooney) as he faces a series of crossroads in his A-list career. Who does he want to be? Which direction is he being pulled in? Is he ready to abandon it all, or not? After having a nervous breakdown, he decides to take a trip to Europe in an attempt to repair his relationship with his daughter (Grace Edwards) and to attend a tribute ceremony. At his side are his publicist (Laura Dern) and his manager (Adam Sandler).

Fittingly, George Clooney gives one of the best performances of his career. He’s right in his wheelhouse, exercising his charisma with a blend of bittersweet emotion. He makes it look so easy, and often lets his magnetic screen presence speak for itself. It’s notably meta, to the point where the character of Jay Kelly and George Clooney almost blur together, and that certainly seems to be intentional. Also impressive is Adam Sandler in a formidable supporting role. While he’s mostly known for his comedy, it’s always fascinating to see how well Sandler truly thrives in more serious and dramatic parts such as this. 

Jay Kelly is a thoughtful character study that coasts on the strength of its stellar cast. Along the way, we’re treated to some nice scenery and cinematic glossiness. The picture proudly wears a sense of nostalgia on the sleeve of its well-ironed suit. Thematically, it’s largely about the power of memories and the weight of regret. And while the narrative doesn’t dive as deep as other Tinsel Town stories of a similar ilk (say, 1950’s Sunset Boulevard or even 2011’s The Artist), it’s hard not to be charmed by its offerings. 

All in all, Jay Kelly proves to be a perfectly pleasurable watch, even if it doesn't necessarily cover new territory. Everything in this film tends to fall into place in a neat and tidy way. But I guess that’s what we’d call a Hollywood ending.

( 7.5/10 )

This review also appears in print and online in St. Paul's Community Reporter newspaper.