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She could jump higher.
She could spin faster and she was determined.
During a practice lesson of the 1994 U.S.
I, Tonyais a gloriously messy film.
Shes glorious to behold.
Much of this is apparent in the grandest moment of the film.
Her teal outfit shifts with each movement of her body.
The crowd claps and watches with rapt attention.
What strikes me is Tonyas face after she performs the triple axel its marked by unfiltered, pure happiness.
But its the smaller moments that kept drawing me into in Robbies performance.
But part of what makes Robbies performance feel so alive is not the more obvious representations of this transformation.
Her work hasnt had much weight to it, and none of her performances have stayed with me.
Biopics need not be obsessed with truths of action, after all, but emotion.
And this is where Robbie excels.
The film may play fast and loose with certain details, but it ultimately comes down on Tonyas side.
Instead, she leans into her caustic psychology.
She walks, talks, eats, and skates as if eager for a fight.
Her eyes grow wet with tears and she noticeably looks away from the camera.
I proved everyone wrong …
I was loved, she says.
