Reinaldo Marcus Green
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Like “Bohemian Rhapsody,” which shares a producer with this film, along with “Respect” and “Bob Marley: One Love,” it follows a rigid, overly familiar structure that mistakes chronology for storytelling.
It has, fairly, been compared to Bohemian Rhapsody or the more recent Bob Marley: One Love for presenting surface level depictions of complicated performers.
It’s a big performance fit for a movie star, along the lines of Julia Roberts’ Erin Brockavich or Brad Pitt’s Moneyball .
Another massive biopic stereotype this film blessedly avoids is that of the emotional support wife, which is so prevalent in Great Man biopics that it somehow still manages to functionally exist in biopics where the man in question is gay and unmarried (see: Keira Knightley’s role in The Imitation Game ).
King Richard , directed by Reinaldo Marcus Green ( Joe Bell , Monsters and Men ) with a script by Zach Baylin, executive produced by three of the Williams sisters, is the slickest exercise in image management I’ve seen since Straight Outta Compton .
First, it could not decide whether it wanted to be The Pursuit of Happyness or Captain Fantastic .