I, Tonya

There’s something about the dramatic tension and psychological depth you can wring from a movie about an individual sport. Team sports can be good fodder for comedy (Dodgeball, Cool Runnings) or back office drama (Moneyball) but are, more often than not, to be found in the bargain bins of the world whereas some of the greatest movies ever made centre on solo sports (see Raging Bull, Rocky, The Wrestler, Black Swan et al.)

Whether biopics or fictional creations the plight of the athlete can offer a lot and I, Tonya is certainly no exception.

Centred on the quite incredible true story of American figure skater Tonya Harding this traverses the entirety of her short-lived career from precocious 4-year-old to controversial teenager and, finally, infamous pantomime villain due to her perceived involvement in the attack of fellow skater Nancy Kerrigan.

What could scan as standard, albeit uniquely interesting, biopic fare is framed in an ingenious narrative device using an older Tonya and supporting cast being interviewed about her early life. We then see the events unfold as they occur with the occasional fourth-wall breaking quip and aside from the characters mid-scene. It all adds up to truly stand apart from the crowd.

Margot Robbie puts in a startling performance as the titular Tonya. Unpredictable, contradictory, outspoken but with a beating humanity and sympathy throughout it’s a multi-layered portrayal that adds to her burgeoning repertoire. The attention to detail is brilliant as well; costuming, location and character likenesses are spot on as evidenced with the real-life footage that plays over the closing credits.

It breezes through her story whilst pausing on key moments that are the building blocks of her fame; the famous triple axle which was the first ever performed by a female skater gets reverential treatment and all of the competitive skating scenes are shot with a grit and a sense of visceral verve that sits you on the edge of your seat; the tension Director Craig Gillespie gleans from these scenes akin to the aforementioned Black Swan.

It's smart enough, as well, to allow the audience to make up their own minds on the events of Tonya’s life. The opening title card alludes to the contradictory nature of the interviews and the character’s quips all too often refer to another’s ‘exaggeration’ or ‘lies.’ It adds a layer of mystery to the scandal which makes the ending all the more powerful when you learn of Tonya’s fate.

It has some laugh out loud moments with brilliant use of gratuitous language in its punchy script and should be praised for its originality; much like the real Tonya.

The best biopic since Steve Jobs.

4 stars ****