Marty Supreme is the final installment in what feels like Josh Safdie’s unofficial trilogy, made up of protagonists who are literal nightmares for human beings – and yet, somehow, you can’t stop rooting for them. After Good Time and Uncut Gems, Safdie once again delivers a chaotic and anxiety-inducing film, where anything goes, centered on the narcissistic freight train of a man who will destroy everything in his path to get what he wants.
This time, that man is Marty Mauser, played by Timothée Chalamet, a ping-pong prodigy in post-World War II 1950s New York who is convinced – no, certain – that he is destined to become the world’s greatest ping-pong player. Marty will stop at nothing to achieve this goal, even if it means betraying his friends, exploiting strangers, scamming his loved ones, or burning every bridge behind him. He’s a slimeball, a narcissist, and a compulsive bad decision machine. And somehow, Safdie still gets you rolling with him.
On the surface, Marty Supreme is a movie about ping-pong. But, like all of Safdie’s films, it’s about so much more: responsibility, self-discovery, ambition, ego, family, friendship, and the destructive cost of believing you’re entitled to greatness. The ping pong itself is electric: tight, fast and truly captivating. Whether the ball is CGI or not is almost irrelevant, as Chalamet fully sells the physicality and obsession of a world-class competitor. He looks the part, moves the part, and embodies the single-minded insanity of someone who believes failure simply isn’t an option.
Chalamet is the undeniable driving force of the film. Marty Mauser is cut from the same cloth as Howard Ratner and Connie Nikas, men who can’t help but sabotage themselves even when the walls close in. Marty’s quest to travel to Tokyo for the World Ping Pong Championships after being fined by the association sets off a relentless avalanche of terrible choices. Every decision makes perfect sense to him in the moment and is catastrophically wrong in reality. This tension – watching someone charm their way while digging their own grave – is where the film really shines.
The supporting cast is stacked and surprisingly strong. Gwyneth Paltrow delivers one of her best performances in years as an aging, semi-retired actress thrown back into chaos by Marty’s orbit. Her chemistry with Chalamet is excellent and her dynamic with Kevin O’Leary – yes, that Kevin O’Leary – as her wealthy businessman husband is incredibly effective. Against all odds, O’Leary holds his own, even confronting Chalamet in a few scenes.
Tyler, the Creator stands out as Wally, Marty’s ping-pong partner and friend, grounding the film with charm and quiet frustration. Odessa A’zion brings emotional weight to the role of Rachel, someone who sees exactly who Marty is and still can’t seem to get over it. Even the small moments – like Marty disastrously trying to help someone’s dog – reinforce the central idea: no matter the situation, Marty will find a way to screw it up.
Safdie’s direction is as chaotic and propulsive as ever. The film moves quickly, rarely lets you breathe, and constantly keeps you guessing. You know bad things are coming, but you don’t know how badly or when the ground will finally collapse. The final 30 minutes are some of the most gripping sequences of the year, with Safdie’s sheer tension cranked up to full blast.
The ending is ambiguous, but intentionally so. Depending on how you read it, Marty Supreme is either about a con artist who finally gets ripped off, or a man forced – perhaps for the first time – to grow up in real time. He doesn’t spoon-feed answers, and this ambiguity seems deserved.
This is easily one of the best films of the year. Chalamet is a lock for a Best Actor nomination, the film deserves serious Best Picture consideration, and Paltrow could absolutely find herself in the Oscar conversation. Whether Chalamet can beat Leo remains to be seen, but one thing is clear: He wants to be in the conversation with the big guys, and performances like this prove he has a place.
Marty Supreme is electric, exhausting, funny, stressful and deeply compelling – a chaotic masterpiece that confirms Josh Safdie as one of the most singular filmmakers working today.
Marty Supreme = 91/100
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