MOVIE REVIEW – Luca Guadagnino’s latest film, Challengers, resembles a live tennis match: occasionally thrilling but often painfully dull, mostly revolving around a pointless exchange of verbal volleys. This comparison is not just a critic’s hyperbole; the characters themselves mention it multiple times throughout the film.

“Tennis is like a relationship,” says Zendaya as Tashi Duncan, who remains a cool “ice queen” even in the midst of what starts as the most erotic sex scene. “Are we still talking about tennis?” asks Patrick Zweig (Josh O’Connor), whose libido understandably wanes during intercourse, while his competitive spirit flares up, to which Zendaya responds, “We’re always talking about tennis.”

A Grumpy Wife and Tennis Manager, A Bizarre Love Triangle, and Constant Time Jumps

Challengers is a film filled with unexpected, amusing “huh” moments, seemingly trying to evoke the glamour and allure of a 90s erotic thriller – despite a Rihanna-infused trailer, without any real erotica making it to the screen. Zendaya portrays the previously mentioned Tashi, whom we first meet in 2019 as the stern intellectual force behind her husband Art’s (Mike Faist) stagnating tennis career. Hoping to restore Art’s confidence, Tashi enters him in a local tennis tournament in New Rochelle, where, by a twist of fate, he is paired with his former friend, Patrick Zweig.

The film tiresomely switches between various timelines from 2006 to 2019 to explore different moments in the trio’s relationship. Besides musical interludes and changes in the actors’ hairstyles, there is little difference between the time periods, and the subtitles marking the timelines are sometimes hard to follow.

Justin Kuritzkes’ screenplay is filled with brisk dialogues and tennis scenes, yet these dynamic segments often end abruptly just as the plot begins to engage. Little is known about Tashi as a character, only that she was an elite athlete in college until a severe knee injury derailed her career. Following this, she becomes an enigma, with Zendaya portraying her so coolly that her performance nearly becomes insubstantial – missing the sensuality that, according to the story, should have utterly captivated both male leads. Additionally, Tashi is evidently bitter about missing the chance to truly shine and is frustrated that Art is content with potentially returning to the court before his fortieth birthday.

Zendaya excels as a tough coach and manager, but less so as a sexy femme fatale…

Tashi’s relationship with her husband and his old best friend remains shrouded in fog; while it’s apparent how the men feel about her, it’s never clear how she regards them. This opacity doesn’t so much reflect ambiguity but rather portrays the character as a blank canvas, painted on by the men in her life. Zendaya tries to fill this role, and when Tashi gets a chance to shine as a strong, decisive coach, genuine energy pulses through her performance. However, too often, beautifully realized but excessively slow-motion shots spoil this effect. These scenes aim to add gravity but end up rendering the moments laughable and cheesy.

The film’s real strength lies in the chemistry between Faist and O’Connor, which, ironically, often feels more intense than either’s connection with Zendaya – despite the story’s focus on both men being madly in love with Tashi. Faist, particularly as Art, captivates with a seemingly reserved performance that reveals much about his character’s inner struggles and self-doubt. O’Connor’s Patrick is bold and charming, while Faist’s Art is reflective and calm, always in a quiet competition with his closest confidant – his only true friend. A scene between the two in a sauna perfectly encapsulates their relationship dynamic, and it’s occasionally frustrating to see that the film fails to balance their story with Tashi’s.

Overwrought Film Effects and Directorial Techniques

In addition to overly sterile direction and a subdued storyline, I was not at peace with the filmmaking techniques employed. The excessive use of slow motion and a recurring musical motif, which sounds every time two of the characters engage in a verbal spar, distinctly detract from the overall impression. This musical insert often completely overwhelms the dialogue in some scenes, resembling the most overwrought moments of a soap opera.

In the third act, the film relies too heavily on first-person, or “POV” (“point of view”), shots. These scenes are staged to show us, directly from Patrick and Art’s perspectives, how they strike tennis balls as if the viewer were on the court themselves. Achieved with a GoPro camera, this effect, due to its rapid movement, might cause headaches for some viewers, and to me, it simply felt overly contrived, especially with its repetitive use.

It’s exasperating to see that although Challengers occasionally finds its rhythm, Faist, O’Connor, and Zendaya are unable to fully exploit the film’s potential as the screenplay consistently throws obstacles in their way. The tennis court dominates the screen, yet the film occasionally elegantly reminds us: this is more than just a game; it’s a genuine lifestyle.

-Herpai Gergely (BadSector)-