CHALLENGERS (2024) REVIEW

Luca Guadagnino directs “Challengers,” a time-shifting drama about a love triangle between tennis pros, with the intensity of a top-seeded player who’d bulldoze his grandmother if she stood between him and Wimbledon glory. Every shot is a power serve, every montage a rapid-fire volley. One scene even offers the perspective of a tennis ball being thwacked back and forth, which is extravagantly goofy and spectacularly entertaining so to say, a perfect metaphor for the film's relentless drive to keep you hooked.

Zendaya stars as Tashi, a former teenage tennis prodigy reminiscent of the Williams sisters. Her career is cut short by injury, so she pivots to managing her husband Art (Mike Faist, of “West Side Story” fame), a dominant force in men’s tennis thanks largely to Tashi’s guidance. Art is in an existential funk when Tashi concocts a plan to have him compete in a low-level championship, hoping it will reignite his passion.

But wait, there’s more! The real twist is Tashi’s hidden agenda: one of the competitors is Patrick (Josh O’Connor), a scruffy hustler and Art’s former best friend until Tashi literally came between them. A flashback shows Tashi slinking into their motel bed, sparking a three-way makeout session that escalates until Art and Patrick start kissing each other, leaving Tashi to bask in her own matchmaking genius.

What drives Tashi? The movie teases us with glimpses of her psychology but never fully reveals her motives. Patrick’s motivations are equally murky, driven by a raw, feral connection with Tashi that overshadows her bond with Art. And Art? He’s the good guy, smart and aware, seemingly content to trust in Tashi’s love despite the unresolved tension with Patrick.

This tangled web keeps “Challengers” on its toes, even as it risks tripping over its own narrative ambitions. The film’s non-linear structure, reminiscent of relationship deconstructions like “Blue Valentine” and “Two for the Road,” is both a strength and a potential stumbling block. The athletic scenes are thrilling, almost like a tennis fan’s version of a boxing movie, with Atticus Ross and Trent Reznor’s relentless score adding to the intensity.

Is “Challengers” too ambitious? Probably. It occasionally gets lost in its own complexity, with too many clever transitions that can interrupt the flow. The 1970s American New Wave-style ending feels unearned and out of place, adding to the sense that the film is straining under its own weight.

Yet, the film’s visceral pleasures are undeniable. Despite its intricate structure, it doesn’t pretend to be an art film. It’s more like a Humphrey Bogart-Lauren Bacall romp from the 1940s, where every line drips with innuendo. It’s a Hollywood film through and through, unafraid of sex and adult themes at a time when commercial cinema often neuters itself to avoid discomfort.

The leads shine with old-school star power. Zendaya channels the alpha-queen energy of Julia Roberts, exuding confidence and control. Faist masterfully portrays the nice guy caught in a potentially heartbreaking situation, while O’Connor’s scruffy, smirking performance recalls 1970s icons like Elliott Gould or Donald Sutherland.

The film maintains an outsider’s perspective on its characters, never fully granting access to their inner lives. It’s like watching the U.S. Open—power dynamics are everything. Who’s up, who’s down, who’s got a secret trump card ready to play? “Challengers” is a great sports film because it mirrors the off-court lives of its players in the heat of competition.

In the end, “Challengers” doesn’t aim for philosophical depth. It’s in the zone, like a pro athlete focused on victory. It doesn’t just want to entertain—it wants to win.