After a year with a lot of anonymous studio output in film, it was refreshing to cap 2025 off with a film as distinct as “Marty Supreme.” Released on Christmas Day, the film is Josh Safdie’s solo directorial debut, a break from his partnership with his brother Benny.
“Marty Supreme” is a film where plot specifics and the passage of time take a back seat, for better or worse, in the service of crafting a fleshed-out style, character and world for its main character to exist in.
Marty Mauser, played by the ever-present Timothée Chalamet, is a character that could just as easily have become the greatest weakness of the film due to his actions and attitude rendering him unlikeable or obnoxious. Nevertheless, Chalamet delivers an immersive performance that balances borderline sociopathy with endless charm.
Chalamet is accompanied by a variable ensemble cast, with most names either being rising stars or celebrities not known for their acting. Notables within the supporting cast include Odessa A’zion, Gwyneth Paltrow, Tyler, The Creator and Canadian businessman Kevin O’Leary. O’Leary, primarily known for his “Mr. Wonderful” persona on the reality show “Shark Tank,” makes his acting debut in “Marty Supreme” as multimillionaire Milton Rockwell. I found O’Leary’s performance to be one of the stand-out aspects of the film, with an authenticity that is hard to pin down as a stereotypical businessman.
A’zion is another stand-out performer, though I was surprised she had less screen time than her character’s narrative and thematic importance would suggest. Thus arises an interesting debacle that the film finds itself in. All of the film’s many facets suffer because they solely serve the main thesis of the film, represented by Marty. Not all pieces make perfect sense while looking at them individually.
There are a few moments in the plot where the reason Marty gets into or out of a situation isn’t adequately conveyed, but the brisk editing does its best to mediate such oversights. The film tends to not concern itself with minor logistical or temporal occurrences that are irrelevant to the film’s message.
The film is scored like it’s calling back to the ‘80s or ‘90s, even though it takes place in the ‘50s. When viewed on a purely objective level, such an anachronistic decision is obviously unintuitive considering the time period, but one cannot deny it fits the tone and Marty Mauser’s character perfectly. Marty is a character with ambitious goals and lives a reckless lifestyle, and feels like a person who was born in the wrong era. He’s “ahead of his time” as one might put it, making the soundtrack an appropriate indicator of the direction Safdie is taking the character.
The borrowing of tendencies from different eras is also displayed by the dialogue and delivery, which is more questionable. Some characters’ delivery seems too contemporary for such a time-conscious film, though it may fit with the tone.
However, it’s important to note that none of the weaknesses mentioned overpower the film’s overall quality. “Marty Supreme” is a great package that kept me engaged and entertained throughout every minute.
The film is a motivating motion picture that never slows down and devotes all of its runtime to the realization of a character brought to life by a captivating performance and focused direction. After watching the stylistic triumph that is “Marty Supreme,” I can confidently say that Josh Safdie can stand on his own as a film director.
