A meticulously crafted if dry study of the American dream.

Rating: 8/10 (26 October 2014)

It's been a long wait. After a year and a half of hype, Foxcatcher is finally among us. This isn't really the type of film that earns such excitement. It's a cold, hard, slow burn, but one that's meticulously crafted. It's a film easier to appreciate than to enjoy. It tells the true story of the relationship between Olympic gold medalist Mark Schultz, played by Channing Tatum, his brother and also gold medalist David, played by Mark Ruffalo, and a wealthy entrepreneur investing in their future to become World Champions, Jan Du Pont, played by Steve Carell. For a story of such tragedy and exposure to the world at large, it's surprising that we're only hearing of it now, but the film's weak spots do make it clear why director Bennett Miller needed an extra year to work on it, having been initially anticipated as a 2013 release. It's clear from the style of Capote and Moneyball that Miller is concerned with capturing raw authenticity with a voyeuristic (and grimly saturated) eye on the characters. It gives Tatum and Carell some of the best artistic environments of their careers for them to play around in. Tatum in particular is impressive unlike what we've seen him in before. In his previous films he's seemed so disengaged but here he has tunnel vision focus, constantly fighting imaginary foes. We're often given shots of him just staring out windows, but he makes them rich with subtext, with both his fulfillment of his ambitions and tedium of his stripped down life. It's a physical role with great sensitivity, showing his selfishness and self-deprecating side. Although there's a strong bond between the brothers especially with their sport, Ruffalo is the antithesis of Tatum. Where Tatum still seems to struggle when engaging with people, however appropriate for the character, it all comes natural for Ruffalo. It's a very subdued but loose performance. Internalizing a lot of different emotions, frustrations and conflicts that Tatum and Carell have but with a whole heap of charm. He's comfortable in his own skin compared to them. I missed him when he wasn't on screen, but it's unfortunate that during his portion of the film in the last third, events become too jumbled. Especially in its final twenty minutes, which does unfortunately drag the film down for me that it doesn't land on two feet. It does find key moments bubbling under its psychological tension, and you often have to be very patient for them to reveal themselves. Carell however was a slight disappointment. The most hyped up aspect of the film since we first got excited 18 months ago, it's certainly transformative but the character is too sparse and distant. Granted, this is part of Du Pont, he's a man who doesn't make have a presence when he walks into a room so he has to compensate with money and weapons. He's good, but suffers due to this nature. His character blossoms under Miller's direction and the makeup (his nose looking like the 'eagle' he wants himself nicknamed after), but his strength in his prolonged sinister stares. The film has some very interesting themes to say with him about the American dream and patriotism, ironic as his last name is evidently foreign. It's quietly powerful. Carell is best as a fascinating contradictory poetic figure, rather than a performance. It's a great film thanks to Miller's methodical approach in setting up the triangle of characters, and the anguish of their motivations. It is cripplingly restrained in every facet, which is good to express the repression that the characters go through; the joylessness of Mark's success, how David's family weigh him down, the way people underestimate Du Pont, and then the ultimate dissatisfaction of the glory they chase. There's a lot to delight from its allegories and the way the relationships develop. However, the way it puts the viewer at an unsettling distance and how dry and somber it is hints that it might not do too well at winning awards, though certainly show up on ballots. I'm sensing that we may find a Carell snub in a stacked category, but Ruffalo is assured. Miller may have to fight for that 5th spot in Director but I wouldn't be surprised to see him there. I'm not eager to watch Foxcatcher again so soon but it's a film that burrows deeply in fraught places. 8/10