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Film Podcast: The Films of Margot Robbie
- Chris Olson
- 2 minutes ago
- 5 min read
Film Podcast Feature by Chris Olson
In the ever-expanding universe of the UK Film Review Podcast, we are constantly seeking out the voices that define modern cinema. This particularly insightful instalment of "The Films Of", presented by my esteemed colleagues Callum Ewing and James Leroyd, marks a significant milestone for the show as they pivot from dissecting directorial oeuvres to examining their first-ever actor: the indomitable Margot Robbie.
The timing could not be more apt, with Robbie set to grace our screens in the upcoming Wuthering Heights. Over the course of their discussion, Callum and James trace the remarkable trajectory of an artist who has transitioned from a breakout star to the highest-paid actress of 2023, all while wielding significant power behind the camera through her production company, LuckyChap Entertainment.
The Wolf of Wall Street
The conversation naturally begins with the film that served as Robbie’s definitive breakout. Callum reminds us that while Robbie had appeared in About Time (one of my favourite all-time films!) it was Martin Scorsese’s The Wolf of Wall Street that truly launched her into the stratosphere. At just 22 or 23 years old, she held her own against Leonardo DiCaprio, delivering a performance James describes as "iconic".
They discuss how she wasn't just a "pretty face" in this role; she was a comedic "firecracker" with an impeccable New York accent. James highlights the "fucking owl" line as a testament to her early understanding of joke delivery and screen presence. It was a performance that announced a major talent, even if it initially risked her being over-sexualized by the industry.
I, Tonya
For Callum, the pinnacle of Robbie’s career thus far is her transformative turn as Tonya Harding in I, Tonya. This was the project that earned her a first Academy Award nomination and, more importantly, forced the world to take her seriously as a powerhouse actress. Callum notes how she fully committed to the role, from the physical demands of ice skating to the heartbreaking vulnerability of the courtroom scene.
James, while less enamoured with the film's overall "assaultive" style, agrees that the courtroom moment is Robbie at her best, where the filmmaking finally slows down to let her performance breathe. It remains a definitive example of her ability to disappear into a character, moving far beyond the "bombshell" archetype.
Babylon
James offers a more divisive pick for his favourite performance: Nellie LaRoy in Damien Chazelle’s Babylon. Though the film itself split critics, James argues that Robbie is "at her best" here, showcasing an incredible energy and physicality. He describes her as a "dynamic screen presence" who hypnotises everyone around her, particularly during the manic opening sequences.
The hosts discuss how Babylon reflects the "gumption" Robbie brings to her work, handling the chaos of a film-within-a-film production with elegance. It is a "capital G great performance" that demonstrates her range and willingness to go to extreme emotional and physical places.
Barbie
No discussion of Margot Robbie would be complete without the cultural phenomenon that is Barbie. Callum and James view this as the "ultimate Margot Robbie movie," a perfect fusion of her stardom, her business acumen as a producer, and her ability to elevate material. They praise the "masterful" chemistry between Robbie and Ryan Gosling, which James suggests is her best pairing to date.
Callum points out that while the role relies on her looks, it does so reflexively. Robbie plays a character designed for perfection who must navigate the choice to be human and flawed. James notes that while it's a quieter performance than Babylon, it is no less impactful, representing a peak of her professional life where she is firing on all cylinders.
Once Upon a Time in Hollywood
The hosts also take time to celebrate Robbie’s skill in supporting roles, specifically her portrayal of Sharon Tate in Quentin Tarantino’s Once Upon a Time in Hollywood. James dismisses the common criticism regarding her limited screen time, arguing that a supporting performance is meant to "elevate" the film, which she does with a sense of pure joy.
The scene where Tate watches her own film in a cinema is singled out as a "wonderful" moment of performance that avoids being exploitative. It serves as a reminder that Robbie does not need to be the lead to leave a lasting impression on the audience.
Suicide Squad and Birds of Prey
Robbie’s tenure as Harley Quinn is discussed with a mix of admiration and frustration. While they both find the original Suicide Squad to be a "bad film" that over-sexualises the character, they agree that Robbie’s commitment to the role was its saving grace. Callum notes how she "saved the film" multiple times with her performance.
They much prefer her later turns in the role, where the writing finally caught up to her talent. Through her production work on Birds of Prey, she was able to reclaim the character, moving Harley Quinn away from being a "nightmarish" caricature to a more fleshed-out and interesting figure.
The Legend of Tarzan and Bombshell
In the spirit of a complete retrospective, Callum and James also touch upon the less successful entries in her filmography. Callum selects The Legend of Tarzan as a "mundane" low point, noting that while Robbie isn't bad in it, the character of Jane Porter is unmemorable and the film itself is largely forgotten.
James is even more critical of Bombshell, describing it as a film that already feels "ancient" and "outdated". He finds Robbie's composite character to be awkwardly written, though he acknowledges she plays the emotional breakdown scenes well. These examples, they argue, are rare instances where the material fails to meet the standard of the performer.
The Producer’s Path
Beyond the acting, Callum and James are clearly impressed by Robbie’s "entrepreneurial spirit". Through LuckyChap, she has produced not only her own vehicles like I, Tonya and Barbie but also critically acclaimed hits like Promising Young Woman and Saltburn.
They conclude that Robbie is an actor who knows exactly what she wants, selectively choosing to work with world-class directors like Wes Anderson, Greta Gerwig, and Martin Scorsese. Whether she is playing a historical figure, a comic book anti-hero, or a plastic doll, she remains one of the most vital and interesting figures in cinema today.
This episode of "The Films Of" is a deep dive into a career that is still, incredibly, in its early stages. We invite you to join Callum and James as they celebrate the range, the risk-taking, and the remarkable rise of Margot Robbie. It is a conversation that reminds us why we love the movies—and why we should always keep an eye on what Robbie does next.
