“Marty Supreme” is a film that demands attention. Before the film had even been released, I had seen footage of its star, Timothée Chalamet, engaging in boisterous and over-the-top promotional stunts, the highlight of which was the hammy feature verse he delivered for British rap superstar Esdeekid. Clearly, those involved in the film wanted us to know that we were in for something special, and the press surrounding its Christmas Day opening successfully made it the highlight theatrical event of the pre-awards season rush. While I found these promotional stunts to be fascinating and entertaining in equal measure, all they did for me was confirm what I already knew from director Josh Safdie’s previous work: “Marty Supreme” was going to be special.

For the uninitiated, Safdie and his brother Benny are the writer-director duo behind the surprise smash hit “Uncut Gems” and its acclaimed predecessor “Good Time,” two of the most chaotic and agonizingly tense films in recent memory. With these works, the brothers showcased a knack for crafting anxiety-inducing descents into the abyss for fascinatingly corrupt protagonists. These movies wore their influences on their sleeve, but reveled in extremes. They turned the overlapping dialogue of Robert Altman into a nightmarish cacophony of voices, the roving close-ups of Paul Thomas Anderson into uncomfortable studies of expression and the rapid editing of Martin Scorsese into, well, even more rapid editing. My deep love for these films made the end of the Safdies’ creative partnership feel like a painful divorce. Before entering the theater to see “Marty Supreme,” I dropped to my knees and prayed not to be disappointed. Fortunately, I wasn’t.

“Marty Supreme” is not a flawless film by any means, but it is an entertaining and fascinating watch. It follows Marty Mauser, a table tennis prodigy who wants nothing but to be the best in the world. He’s played by Chalamet, who perfectly depicts his characters’ core traits of charisma, admirable dedication and repugnant selfishness. These core character traits anchor the story, keeping it from straying beyond its emotional core even as it takes left turn after left turn. There is a strange fantastical air about this film, as if every character in it is haunted by spirits of chaos. If I were to spoil the film by describing certain specific plot points, you still might not believe what happens. Still, I think the film’s insanity works to its advantage. Even though it runs a little overlong, I can’t imagine how someone could watch “Marty Supreme” without being utterly transfixed. And while it takes long detours from the sports-centered plot threads it sets up in its opening scenes, it still delivers enough suspenseful and engrossing sports scenes to satisfy. The directorial style that defined previous Safdie joints is also put on full display, giving scenes momentum that never relents and a healthy helping of visual flair.

Still, the film isn’t a straightforward home run, partially because it outright refuses to paint within its own lines. While it’s set in New York City in the 1950s, Daniel Lopatin’s score is a full-on 80s synthwave affair, and its soundtrack is pulled straight from that decade’s pop charts. I find this decision frustrating, because even though the score is amazing, it prevents me from being fully immersed in the movie’s fascinating setting. There’s also a slew of non-actors in its cast, to a degree that can be at points both dazzling and distracting. Kevin “Mr. Wonderful” O’Leary — yes, that one — delivers a surprisingly committed performance, but his mere presence onscreen triggers a response in me akin to an allergic reaction. Also, as I mentioned before, the film is simply too long. There’s fat to trim in most movies that push two and a half hours, and this one is no exception.

Still, “Marty Supreme” is a triumph precisely because of the thing it examines: restless, unapologetic ambition. It’s an insane film, one that fully earns the bombastic marketing stunts that preceded it. If anything, it’s telling that my criticisms are of artistic choices that are meant to be abrasive. I’m sure that’s the way its creators want it.