{"id":10042749,"date":"2025-12-05T10:13:18","date_gmt":"2025-12-05T15:13:18","guid":{"rendered":"https:\/\/vanyaland.com\/?p=10042749"},"modified":"2025-12-05T10:13:19","modified_gmt":"2025-12-05T15:13:19","slug":"marty-supreme-review-josh-safdie-serves-up-a-masterpiece","status":"publish","type":"post","link":"https:\/\/vanyaland.com\/2025\/12\/05\/marty-supreme-review-josh-safdie-serves-up-a-masterpiece\/","title":{"rendered":"\u2018Marty Supreme\u2019 Review: Josh Safdie serves up a masterpiece"},"content":{"rendered":"\n

If folks were disappointed that The Smashing Machine <\/em>wasn\u2019t just Uncut Gems 2: Howie Ratner Learns How to Lift<\/em>, they\u2019ll be absolutely delighted by Josh Safdie\u2019s Marty Supreme<\/em><\/strong>. It\u2019s a continuation of the storytelling throughline that Safdie established with his brother Bennie in their last few films \u2014 white-knuckle insanity on the streets of New York taken to absurdist extremes, grounded in a thoroughly-brilliant performance by a uniquely-talented lead \u2014 but placed in a more-distant time period, with more textures and styles for him to play with. You can practically feel just how much fun the director is having with this particular picture, and, though it may be typically nerve-wracking as most of his features are, there\u2019s a strangely light and effervescent quality here, as its protagonist stumbles into one rake after another through a combo of his ego, dreams of stardom, and hideous fortune.<\/p>\n\n\n\n

Loosely based on the life of ping-pong champ Marty Reisman, Marty Supreme<\/em> best resembles a lost sports film from the early \u201880s \u2013 All the Right Moves<\/em>, Personal Best<\/em>, The Color of Money<\/em>, Breaking Away<\/em> \u2013 with a decidedly modern protagonist and a Hill-Scorsese approach to building chaotic tension. Marty Mauser (Timothee Chalamet) may look like your average shoe salesman in early \u201850s Manhattan, but he\u2019s thoroughly unsatisfied with the fit. He\u2019s got bigger goals and plans than eking out a meager existence in the Five Boroughs, living with his mom (Fran Drescher), marrying the right Jewish girl, and so on. He\u2019s got skill, he\u2019s got talent, he\u2019s got a hell of a serve: he\u2019s got the Touch with a paddle. He\u2019s also got a great way of making trouble for himself: He gets a childhood friend pregnant before heading to the table-tennis championships in London, racks up a $5,000 hotel bill, which he promptly sends to the sport\u2019s governing body, and goes out of his way to alienate every single person around him in his quest for attention and awe. All that bullshit goes away when, as Al Davis said, you \u201cwin, baby, win.\u201d It\u2019s easier to get forgiveness than permission, provided you beat the competition. Marty doesn\u2019t \u2013 he loses in disastrous fashion to the Japanese champion in the final round \u2013 and, after spending some time in Europe with the Harlem Globetrotters, returns home to find that his problems have quadrupled. The only way out is for him to head to Japan and beat his rival, but that\u2019s a long way off and will cost a lot of money to get there. What\u2019s a dude to do?<\/p>\n\n\n\n

As the meme goes, Marty is the platonic ideal of \u201cquirked up white boy GOATed with the sauce,\u201d possessing the necessary components for goofy-ass, nearly-inexplicable charisma that overwhelms a mark\u2019s defenses. He\u2019s got a fierce competitive streak, a brutal wit, a publicist\u2019s eye for self-promotion, single-minded drive, and, most importantly, the talent to back up most<\/em> of his boisterous claims. If he doesn\u2019t have that in a given situation, he knows how to talk his way out of a problem \u2013 at least long enough to find a window to open and a fire escape to run down. To continue the Gems <\/em>parallel, he\u2019s Howie if the man could actually ball, placing Pete Rose-style bets on himself to hit the over on his threes, being just as catastrophically terrible for those around him, yet possessing the intangible quality that makes it easier to excuse when observing from afar. Much like Sandman then, Chalamet brings his A-game to the part, and it\u2019s nearly impossible to imagine another actor in it \u2013 the glasses and make-up zits just wouldn\u2019t fit as well on his contemporaries. He is a perfect<\/em> brat, with his youthful swagger concealing the pathetic nerves behind it, and the fact that we don\u2019t reject this character like a container of quickly-consumed gas station sushi is a reflection of how much depth he brings to Marty. Get ready for that statue, dude. You\u2019re heading to the mountaintop, should justice prevail in the minds of Oscar voters.<\/p>\n\n\n\n

His supporting cast is, like most Safdie features, comprised of quirkily-placed established talents and non-actors that run the gamut from \u201cWho the fuck is that?\u201d to \u201cWait, what the fuck is he doing in this?\u201d The duality is represented by one couple, with Gwenyth Paltrow as an aging movie star and Kevin O\u2019Leary as her husband, the CEO of a pen company, both of whom take an interest in Marty\u2019s career. Paltrow\u2019s a sturdy rock for Chalamet to woo and wow, who is as fascinated by the young man\u2019s affections as she is exasperated with his youthfulness, and O\u2019Leary is beautifully cast as the physical representation of industrial soul-sucking exploitation. Imagine Guy Peace in The Brutalist<\/em> if the actor had legitimate experience in strip-mining businesses for parts (and if Brady Corbet settled on a milder, less-violent form of sexual humiliation for his protagonist to undergo in the third act). You\u2019d get O\u2019Leary here, who radiates a detestable vibe from the minute he arrives on screen. The rest of the ensemble is fantastic in their own ways, with particular praise going to Tyler, the Creator, as one of Marty\u2019s hustling buddies; Philippe Petit as another ping-pong champion with a dark past; and the one and only Abel Ferrara as a dog-lover with a sack full of cash and some terrible timing.<\/p>\n\n\n\n

Yet, as repellent as Marty can frequently be, I doubt those who complain about \u201cunlikable protagonists\u201d will be out in full force, given just how thoroughly Safdie puts him through the wringer. There\u2019s a self-destructive aspect to Marty\u2019s actions \u2013 he is perpetually to blame for the situations he finds himself in — but there\u2019s also just some legitimately bad fucking luck that comes his way, nor are the rest of the people in his life angelic passers-by, who would stay out of trouble if he weren\u2019t actively in their lives. It also helps that he grows in character throughout the film, as I think a bit of the reason Gems <\/em>was so despised by a certain segment of its viewership was that Howie remained a fundamentally static character \u2014 it was his world that was crazy and ever-changing, with his bizarre certainty that he would win out remaining the only constant. That the Safdies went out and made \u201cbased-on-true story\u201d sports movies with parallel messages shouldn\u2019t be ignored, but it\u2019s in how that differ that makes them interesting. Both are, in essence, about growing up and learning that one\u2019s fallible, though of course they approach this from dissimilar perspectives. I\u2019d argue that both are successful at what they set out to do, but there\u2019s no denying how much of a show-of-force Marty Supreme<\/em> is compared to the more atmospheric tone of The Smashing Machine<\/em>. It certainly puts its lead through a more exaggerated and comical hell, that\u2019s for sure.<\/p>\n\n\n\n

At a certain point in any narrative like this, one\u2019s satisfaction with schadenfreude runs out and empathy kicks in, and Safdie\u2019s well aware of that fact. Hence, the acts of God come along to throw us for a loop \u2013 bad plumbing, Penn Jillette, Jersey hicks at a Bowling alley \u2013 and keep the story running at a Tex Avery-like pace. The story is nearly unbelievable yet ferociously<\/em> funny, and that trademark Safdie stress boils over early and keeps rolling, bubbling over the pot’s lid all the way until the credits roll and the burner is turned off. The vibes are impressive \u2013 Darius Kondji\u2019s cinematography has rarely been this vivid, the period-setting is appropriately strange for a Safdie feature, and the entire enterprise feels surreal, especially with the collision of anachronism (the soundtrack is stacked with new wave cuts from Public Image, Ltd., Peter Gabriel, and New Order, among others) and cosmic oddity (just you wait until you see the film\u2019s title sequence).<\/p>\n\n\n\n

Stress<\/em>. That\u2019s the operative word here. I\u2019m sure you\u2019ll hear plenty of discussion about how stressful it is to watch Marty Supreme<\/em>, much like it was when Uncut Gems<\/em> came out, but there\u2019s been little in the way of discussion as to why<\/em> that is and how Safdie achieves that effect. There\u2019s an element of sensory overload to those scenes \u2013 oftentimes, they\u2019re not actually suspenseful or nerve-wracking. Instead, they\u2019re overwhelming, with a cacophony of Altman-esque cross-talk scattering our attention across the sound mix, throwing us off balance until Safdie gives us a detail to focus on. The pace has a similar ethos, in which the narrative beats are started like balls heading through a perpetual motion machine: as soon as you think it\u2019s come to a stop, you come to find they\u2019re being reloaded, soon to drop back down through the tubing and levers. Much like one of those machines, Safdie has precisely engineered this feature, fine-tuning it to ensure seamless operation, with every diversion and descent into chaos expertly slotted to fire every single synapse and activate every pleasure receptor in one\u2019s brain. Marty Supreme<\/em> is as much of a visceral pleasure as it is an intellectual one, and it\u2019s one of the best movies of 2025. There. There\u2019s your mic drop.<\/p>\n","protected":false},"excerpt":{"rendered":"

If folks were disappointed that The Smashing Machine wasn\u2019t just Uncut Gems 2: Howie Ratner Learns How to Lift, they\u2019ll be absolutely delighted by Josh Safdie\u2019s Marty Supreme. It\u2019s a continuation of the storytelling throughline that Safdie established with his brother Bennie in their last few films \u2014 white-knuckle insanity on the streets of New York taken to absurdist extremes, grounded in a thoroughly-brilliant performance by a uniquely-talented lead \u2014 but placed in a more-distant time period, with more textures […]<\/p>\n","protected":false},"author":48,"featured_media":10042634,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[19452],"tags":[10747,20180,24029,26409,34709,35845,21377],"class_list":["post-10042749","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-filmtv","tag-a24","tag-film-review","tag-good-movies","tag-header","tag-josh-safdie","tag-marty-supreme","tag-timothee-chalamet"],"yoast_head":"\n\u2018Marty Supreme\u2019 Review: Josh Safdie serves up a masterpiece<\/title>\n<meta name=\"description\" content=\"Josh Safdie and Timothee Chalamet will blow your mind when \u2018Marty Supreme\u2019 hits theaters on Christmas Day. 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