Uncut Gems may be the most hectic, viscerally discomforting, anxiety-inducing theater experience of my life. Adam Sandler’s Howard Ratner managed to make wrong decisions faster than I could even realize there was a bad decision to be made. In the process, he became one of the most captivating protagonists of 2010s cinema. Uncut Gems is an absolute masterpiece, and I’m thrilled to report that Marty Supreme—which stars Timothée Chalamet and comes from Josh Safdie, one half of the Uncut Gems Safdie brothers directing duo—shares much of the same brilliant DNA as that film.
If you’re looking for the spiritual successor, the Casino to Uncut Gems‘ Goodfellas, you’ll absolutely find it in a ping pong savant played by Timothée Chalamet. And what you’ll discover is something truly special.
The Story of an Ambitious Dreamer
The film follows Marty Mauser, a persuasive shoe salesman stuck working for his uncle who believes table tennis could be his ticket out of Manhattan’s Lower East Side. It’s a classic underdog setup, but what Safdie and co-writer Ronald Bronstein do with this premise elevates it far beyond sports movie conventions.
Marty’s seemingly unassailable self-confidence will obviously be tested when it comes to ping pong. But the film’s true impact—its most memorable and electrifying moments—come from testing Marty’s confidence away from the table, as he’s forced to scheme, hustle, and charm his way into competitions. A lot happens in between all the ping pong action. But it happens fast. Frequently, it comes completely out of nowhere. And you absolutely don’t want to know about it going in, because the surprises are part of what makes this film so thrilling.
If you love movies like The Color of Money and Catch Me if You Can, excellent—you’re in for a treat. Josh Safdie, who in addition to directing also co-wrote with Ronald Bronstein, pulls familiar elements from those films as well as Uncut Gems to paint a portrait of ambition under pressure that is genuinely fun to watch while never losing that distinctive cinematic brand of stress the filmmaker has become famous for.
Marty Supreme is a film that’s doing exceptional work on all fronts, but it starts with Timothée Chalamet, who is a clear contender for all of this year’s best actor awards.
Timothée Chalamet Delivers a Career-Defining Performance
Chalamet is completely mesmerizing as Marty Mauser. The character’s tendency to use his razor-sharp wit to talk his way out of seemingly impossible corners isn’t entirely dissimilar to Uncut Gems‘ Howard Ratner. Both are insanely confident and driven to win at any cost, and both can be accurately described as narcissistic, occasionally exploitative, and strategically manipulative.
Where Howard’s frequent catastrophic decisions drive Uncut Gems‘ plot forward at the cost of the audience’s empathy, Marty is a considerably more sympathetic character. He may not always make the righteous or ethical decision, but he does it with an affability and charm reminiscent of Paul Newman or Robert Redford in a ’70s crime caper. You genuinely want this kid to succeed, even when he’s cutting corners.
There’s a remarkable moment early in the film where the press is interviewing Marty about his opponent in an upcoming match and, when asked about his strategy, he says, “I’ll do to him what Auschwitz didn’t.” There was an audible gasp in the theater when I saw the film, followed up quickly by Marty adding, “It’s okay if I say it. I’m Jewish,” which got a massive laugh and perfectly encapsulates his character’s audacious charm.
That kind of outrageous claim is central to Marty’s appeal and is also a testament to Chalamet’s extraordinary on-screen charisma. It takes immense confidence to pull off a line like that authentically, and it isn’t the only time Marty drops that kind of conversational bomb in the film. But Chalamet sells every single one because you believe this is genuinely who Marty is—unfiltered, ambitious, and unapologetically himself.
With Marty Mauser, Chalamet puts his own indelible stamp on that Safdie brand of overwhelming turbulence by combining the hectic intensity Al Pacino brought to roles like Serpico and Dog Day Afternoon with the effortless charisma Paul Newman brought to Gondorff, his Depression-era grifter in The Sting. When he needs to talk his way out of a dangerous situation, he’s pure Pacino intensity. When he needs to talk his way into something advantageous, he’s all Newman charm. But the absolute best writing and acting in Marty Supreme comes in the scenes where Chalamet seamlessly code-switches from Pacino to Newman mid-scene, sometimes mid-conversation. It’s acting of the highest caliber, and for fans who’ve followed Chalamet’s career, this represents his most complete and mature performance to date.
A Supporting Cast That Elevates Everything
But as incredible as Chalamet is—and he truly is phenomenal—he’s also brilliantly bolstered by a remarkably talented supporting cast that brings depth and texture to every scene.
Odessa A’zion’s Rachel is an absolute scene-stealer, which is entirely fitting because her character is just as conniving and sharp as her on-again, off-again boyfriend Marty. When she and Marty clash, she’s a formidable and cunning foe. But she’s at her absolute best when she’s scheming alongside him. Watching Rachel and Marty realize they can grift together to achieve a common goal creates some of the funniest, most dynamically written moments of dialogue in the entire film. Their chemistry is electric, and A’zion more than holds her own against Chalamet’s powerhouse performance.
Meanwhile, Gwyneth Paltrow delivers a quietly stoic and deeply affecting performance that provides a meditative contrast to Chalamet’s overly confident Marty. As an aging actress married to a wealthy businessman, she plays Kay with a subdued melancholy born from decades of disappointment after choosing a golden cage instead of gambling on a bigger, more fulfilling career. There’s a fascinating undercurrent to Kay’s encounters with Marty; each sees a possible version of themselves in the other that evokes a kind of Dickensian duality. In Kay, Marty sees a Ghost of Christmas Future—a cautionary tale of compromise; in Marty, Kay sees a Ghost of Christmas Past—the ambitious dreamer she once was. Besides the thematic implications of their relationship, Kay still has beauty, social status, considerable wealth, and access to her powerful husband—all things Marty desperately wants and believes he deserves.
Which brings us to Kay’s husband, Milton Rockland—played by Shark Tank‘s Mr. Wonderful himself, Kevin O’Leary, who turns in a surprisingly serviceable performance for a non-actor. That said, his unmistakable je ne sais quoi translates effectively after being honed from over a decade “in the tank.” To fans of the show, some of O’Leary’s interactions with Marty will evoke the familiar vibes of desperate contestants trying to weasel just a bit more cash out of the sharks. It’s pure stunt casting, and I’m absolutely here for it. O’Leary brings an authenticity to the role of a wealthy businessman that feels lived-in rather than performed.
Then there’s Wally, Marty’s closest ping pong partner and occasional partner-in-crime, played by Tyler Okonma (better known as Tyler, the Creator). They have genuinely great chemistry together that seems to transcend the characters themselves. It genuinely looks like the actors are having an absolute blast on set, especially when they’re hustling unsuspecting marks at ping pong. But when things inevitably go south, Okonma’s performance demonstrates an impressive amount of dramatic range. He’s made a truly notable and memorable acting debut here, and I genuinely hope this isn’t the last time we see him on screen.
Nearly every performance in this film is top-notch and worthy of discussion, but nothing took me by surprise quite like the cameo from Abel Ferrara. You need to understand, I absolutely LOVE movies about New York City scumbags—everything from Goodfellas to Midnight Cowboy to, of course, Uncut Gems to Ferrara’s own Bad Lieutenant. So seeing the legendary director show up made me genuinely giddy. Ferrara created some of ’90s cinema’s most enigmatic New York scumbags, and his supporting role as Ezra Mishkin, a probably-mobbed-up criminal, brings a heavy dose of chaos and authentic menace to the film. For cinephiles, his appearance is a gift.
Safdie and Bronstein’s Most Refined Script
Marty Supreme marks the fourth writing collaboration between Ronald Bronstein and Josh Safdie. While not necessarily my absolute favorite of their work, it’s unquestionably their most refined screenplay and definitely has the broadest mainstream appeal without sacrificing artistic integrity.
From a technical standpoint, it has exactly what I expect and crave from a Safdie-directed screenplay: relentless, expertly-crafted tension in scenes full of what I’d now consider textbook constructions of Safdie-induced anxiety. The mounting pressure feels almost unbearable at times, yet you can’t look away.
But there’s something genuinely new in this script, which is absolutely key to its mainstream appeal and broader accessibility. With Marty Supreme, Bronstein and Safdie figured out how to ratchet up stress and maintain that signature anxiety without sacrificing the audience’s empathy for the main character—a delicate balance that eluded some of their previous work.
Both Good Time and Uncut Gems follow that classic mold: desperate characters willing to lie, cheat, manipulate, and scam their way into achieving their goals, consequences be damned. Marty Mauser is absolutely cut from the same cloth, but he’s just considerably more sympathetic and relatable. While Chalamet’s performance undoubtedly plays a massive part, Marty is still fundamentally just a kid chasing a ridiculous dream with everything he has. And his resolute transparency about his goals and motivations makes him genuinely endearing. Things may go catastrophically south for him, but it’s that innate honesty—unlike Robert Pattinson’s Connie in Good Time or Adam Sandler’s Howard in Uncut Gems—that makes you actively want him to win. The increasingly absurd risks he’s taking are usually reactions to the chaos swirling around him as opposed to direct consequences of purely self-destructive decisions.
The Heart-Pounding Second Act
Marty Supreme may be categorized as a movie about ping pong, but its most memorable and pulse-pounding moments happen far from the table. This is technically a sports movie, so I don’t think it’s too much of a spoiler to reveal that the third act centers on a climactic match. But where the film really gets your heart absolutely racing, where Safdie-induced stressors from all the quick cuts and cacophony of sound design really crescendo to almost unbearable levels, is in Act Two. When you first walk out of the theater, it’ll be scenes from this middle section that you can’t wait to discuss with anyone who’ll listen.
That’s not to say the film doesn’t stick the landing—it absolutely does. But Act Two builds tension that’s best compared to Wile E. Coyote running off a cliff but not falling until he realizes the ground has disappeared from underneath him. But instead of a few seconds of comedic timing, it takes over an hour for Marty to finally look down—all while the stakes continue to escalate exponentially.
Marty Supreme and Uncut Gems will spawn many of their own “Goodfellas/Casino” debates in the future. It doesn’t matter what side you take; we’re insanely lucky all these films exist.
The Safdie Style Perfected
As I’ve mentioned multiple times, I think Uncut Gems is a genuine masterpiece. In 2019, there was no film remotely like it—an anxiety attack captured on celluloid from start to finish. I was absolutely addicted to its intensity. So when the Safdie brothers announced their creative split, I was genuinely concerned about what that meant for their distinctive style.
From a directing standpoint, it turns out that Josh Safdie might very well be the primary driving creative influence behind the brothers’ previous films’ distinctive aesthetic. People yelling and talking urgently over each other. Loud, uncomfortable, recurring noises that almost function as an unwelcome percussionist moving the scene along. Rapid cuts between extreme close-ups and handheld wide shots. All these signature techniques are put to exceptional effect in Marty Supreme, proving the style wasn’t diluted by going solo.
But the table tennis scenes are shot in a distinctly different way, which makes them really stand out from the rest of the film’s frenetic energy. Instead of the quick cuts and jarring juxtapositions of framing, the ping pong matches are covered in longer, more patient wides. That’s brilliant for two reasons. First, it genuinely shows just how good Timothée Chalamet got at ping pong for this role. Yeah, he’s playing “against” real-life pros who are working with him to make the play feel as complex as possible. But a substantial number of these volleys are genuine physical feats of athleticism and coordination, and it shows incredible directorial instinct on Safdie’s part not to over-direct or over-edit them into incomprehensibility.
Also, before I forget, Koto Kawaguchi, who plays Marty’s professional table tennis rival Koto Endo, does an incredible job in these matches, making it crystal clear he’s the movie’s genuine pro player. However, he also does exceptional work portraying Endo as an enigmatic rival patiently waiting for Marty—if he can earn his way back into legitimate competition. It’s a subtle but effective performance that adds real stakes to the sports sequences.
A Modern Classic
Without a doubt, Marty Supreme is one of the absolute best movies of the year. If I were Howard Ratner with his gambling addiction, I’d confidently take the over on audiences liking Marty Supreme more than Uncut Gems and parlay that with a best actor statue for Chalamet come awards season.
This movie owes a considerable debt to Uncut Gems. I’m not trying to suggest Marty Supreme doesn’t innovate or break new ground—it absolutely does—but much of what works brilliantly in Marty Supreme also worked in Uncut Gems. Both films are fundamentally about a character desperately figuring out “how they win” against impossible odds.
To me, Marty Supreme and Uncut Gems will spawn many of their own passionate “Goodfellas/Casino” debates in the future among film enthusiasts. It doesn’t matter what side you ultimately take in those debates; we’re insanely lucky all these films exist and that we get to experience them. Personally, I still prefer Uncut Gems by the slimmest of margins, but I’m also fully aware I might be in the minority. For most audiences, Marty Supreme will triumph merely because Marty Mauser is a considerably more endearing and sympathetic character than Howard Ratner ever was.
Regardless of where you land, this film unquestionably solidifies Josh Safdie as one of the most unique, exciting, and vital directors working in Hollywood right now. And Marty Supreme is easily one of the best movies of the year—a film that will be discussed, debated, and celebrated for years to come.
The Verdict
Marty Supreme is an amazing first solo directing credit for Josh Safdie that brilliantly continues to build on the chaotic, anxiety-inducing vibe that he and his brother have been meticulously honing since Heaven Knows What. If you’re a devoted fan of previous Safdie brothers efforts, you absolutely won’t be disappointed—this delivers everything you love about their work while pushing into new territory.
But thanks to a genuinely career-defining performance from Timothée Chalamet as the charismatic Marty Mauser, combined with Safdie’s most refined and accessible screenplay to date, Marty Supreme will appeal to significantly more than just the film and sports enthusiasts. This is a movie that works on multiple levels—as a sports film, as a character study, as a period piece, and as a meditation on ambition and the American Dream.
The supporting cast elevates every scene they’re in, from Odessa A’zion’s scene-stealing Rachel to Gwyneth Paltrow’s melancholic Kay to Tyler, the Creator’s impressive dramatic debut. The cinematography captures both the frenetic energy of Marty’s hustle and the elegant beauty of professional table tennis. The score and sound design create that signature Safdie anxiety while knowing exactly when to pull back and let moments breathe.
For fans who’ve been waiting to see what Josh Safdie could do on his own, Marty Supreme is the answer you’ve been hoping for. For fans of Timothée Chalamet, this is the performance that proves he’s not just a talented young actor but a genuine movie star capable of carrying a film entirely on his shoulders. And for anyone who simply loves exceptional cinema that takes risks and trusts its audience, Marty Supreme is essential viewing.
This is filmmaking at the highest level—confident, ambitious, emotional, and thrilling from start to finish. Don’t miss it.
8.5/10 Stars
Marty Supreme released Christmas Day and is currently in theaters.
