Challengers Review

Luca Guadagnino’s Challengers swings and lands and swings and misses and misses and lands and repeats. Strengths become flaws as the EDM score from Trent Reznor and Atticus Ross is a charge to hear until it isn’t. The non-linear structure of the love triangle provides glimpses of high-powered melodrama, but it’s also distractingly messy in at least equal measure. Where I find no fault was in the performances even if I wish the script from Justin Kuritzkes served them better.

Volleying between 2006 and 2019 and significant points in between, we are introduced to BFF’s Art (Mike Faist) and Patrick (Josh O’Connor) as tennis juniors champs at the US Open. Along with the rest of the sports world, they are smitten by highly touted prospect Tashi (Zendaya) who is biding her going pro jump until the right moment. A late night meeting at a hotel on the day of the boys’ introduction to her provides fireworks that will complicate and influence their dynamic for the next decade plus.

It is 13 years after that encounter that Art and Patrick, long estranged, hurdle toward a match at a Challenger event. Tashi’s go pro unveiling never came into focus, but she and Art have formed a potent partnership while Patrick’s career has stalled. Flashbacks fill in other pertinent details and haphazardly at times. Despite its 131 minutes of action, characterizations of the players can run frustratingly thin.

Tashi seems to hold a lot of power over the gents and Zendaya’s work sells it. She cannot impose her will on the court and strives to do so with those competing on it via other methods. Kudos to the Dune heroine for nailing this unlikable character that should have been more fleshed out. O’Connor and Faist also excel with the former perhaps more of a breakout.

There’s really no one to root for in Challengers by design as this less than holy trinity think far more about themselves than others. You may find yourself calculating who among them is the worst offender. Guadagnino turns the aforementioned score and soap opera vibes up loudly. It works often as a pure guilty pleasure. By its conclusion, however, I might’ve been laughing at the stylistic flourishes and not with it.

**1/2 (out of four)