Foxcatcher

The saga of John du Pont is one of the more bizarre and tragic stories from the mid-1990s. In Bennett Miller's dark and ominous Foxcatcher, the episode is framed as a true-life Faustian Tale. But the story is almost secondary to three outstanding dramatic performances -- two of which are given by men who are better known for their work in other genres.

Channing Tatum stars as Olympic wrestler Mark Schultz. When we first meet him, he's already reached elite status by winning a gold medal. But the achievement hasn't allowed him to escape the shadow of his older brother, Dave, also a gold medalist. The younger Schultz wants more. He wants to be the best. His past prize also doesn't pay the bills. After training sessions, he's eating ramen noodles. All that changes, however, with a phone call from du Pont (Steve Carell) who offers to pay him and set him up in a first-class training facility on his Pennsylvania estate.

Like Schultz, the multi-millionaire du Pont is a man in a seemingly enviable position who nevertheless wants something greater. He has family issues of his own, as he strives to please his disapproving mother (Vanessa Redgrave). He hopes he can make her proud by leading a team of wrestlers to gold in Seoul in 1988. But du Pont doesn't just want to be a benefactor. Even though he's little more than an extremely wealthy fan, with only a rudimentary knowledge of the sport, he wants to be seen as a coach and mentor to his wrestlers. And so, when Dave arrives to guide his brother, jealousy develops. Dave is everything du Pont wishes he could be, but isn't. He's a great teacher, a great leader. This leads to tension that slowly builds toward the story's shocking climax as du Pont's demons emerge.

As du Pont, Carell is almost unrecognizable beneath make-up and prosthetics. It's a quietly disturbing performance that will definitely have audiences and critics seeing the comic talent in a new light. Action/comedy star Tatum also has a breakthrough turn as the intense and driven young Schultz who grows increasingly uncomfortable under du Pont's subjugation. As a past Academy Award nominee, Mark Ruffalo's exceptional portrayal of the older Schultz comes as less of a surprise. But that doesn't make it any less notable or transformative. The normally wiry Ruffalo packed on a lot of muscle to play Dave Schultz. Here, he looks less like his Bruce Banner alter ego, and more like the Hulk himself. All three performances are a study in the art of subtly. This is a movie that derives drama from silent moments. In many key scenes, it's the words that aren't said that speak volumes.

Foxcatcher features themes of control and manipulation, and wrestling functions as an apt metaphor. It's that most primal of sports – one in which you literally bend another person to your will. Ultimately though, the movie is a story about two people who reach for greatness, only to experience a great fall. And it's also the tale of a great man caught in the middle. The saddest part is that it actually happened.

BY RYAN C. SHOWERS

Hearing reactions from people who saw "Foxcatcher" made me instill a mindset in myself to defend against the "slow pacing". (Feeling the discomfort from a long running-time is a movie pet peeve of mine.) However, my experience of "Foxcatcher" was largely different from most everyone else who has discussed the film. I did not want to take my eyes off the screen. The direction from Bennett Miller felt in tune with the story and the characters in a mellow way. He built scenes at a gradual pace, but each scene has a path and reach a distinctive point of impact. Because "Foxcatcher" is so muted, it haunts with the uneasy themes being explored in the screenplay and a deliberate reveal of information in the directing.

The ominous representations of the real-life people by the actors contribute substantially to the outcome of "Foxcatcher". Steve Carell amazed me in his portrayal of John du Pont. It's not the most expressive work of an actor this year, but it's certainly one of the most potent. The comedic actor is transformative and in more ways than the physical ones prompted by the make-up prosthetics, which visibly add to the creation of the mysterious figure. Carell's eyes cut deep into the viewer and sting like a sharp razor blade impaling the warmth of your flesh.

"Foxcatcher" begins as Mark Shultz's story and continues into the film's second act led by Channing Tatum's irate temperament. But the closer the end of the film nears, du Pont begins to consume the story. Carell's performance feels extraordinarily subtle as your start the film, but as "Foxcatcher" endangers the viewer deeper into du Pont's mind, the severity of Carell's performance begins permeate throughout the picture. There's an eerie presence he creates, a torment that does not internally leave you after watching it. (Not to suggest that du Pont is evil, as understood in Miller's direction, there's an nuance of tragedy that looms over the man that makes his story such a grave one to experience.)

Mark Ruffalo's Dave Schultz becomes a driving figure in the last act, along with Carell, as Tatum's importance begins to lessen. The simple, small-town guy with a beacon of knowledge realized by Ruffalo is impressive. Tatum also gives his most accomplished performance to date.

Bennett Miller steps back tonally to his work in somber "Capote" after making the lighter (and forgettable) "Moneyball" in 2011. "Foxcatcher" is in the same quality league as "Capote", but in film he has a peculiar manner of creating the action of the plot. Some may say "Foxatcher" contains too few and far between events in the narrative, but I think Miller creates a drama palpable in the air of every scene, and we, the audience, are parked in a burning tension for two hours.

"Foxcatcher" is a superb film that, as it sits in your mind, grows from the seeds Miller plants in your head as you watch his detailed recounting of events on the du Pont estate. It will disturb you with its bleak vegetation and seduce your flames of darkness.

Grade: A-

* * * 1/2 / * * * *

"Foxcatcher" is anything but a wrestling drama. Although based on the true story of Olympic gold medalist Mark Schultz and his brief years of training under multi-millionaire John du Pont, "Foxcatcher" expands well beyond the wrestling ring into the minds of two men longing to find greatness.

So those expecting anything close to director Bennett Miller's last film, "Moneyball," should be forewarned. This is not a sports movie, but a slow-burning character study (like Miller's first acclaimed film, "Capote") in which the wrestling serves as the visual, physical expression of the psychological struggle between the characters.

When we first meet Mark, played by Channing Tatum, whose versatility continues to amaze, it's 1987 and he is living in the faded glory of his 1984 gold medal. Despite his success, he is living a rather lonely life and itching to accomplish more; his brother, Dave (Mark Ruffalo), also won gold and Dave feels that leaves him with something to prove. So when John du Pont (Steve Carell) contacts him about paying him to come train at his top-notch facility on his family's estate, Foxcatcher Farm, he sees his opportunity.

Mark and du Pont's philosophies about striving to be the best align, and the two form a close, almost father-and-son bond, though more so because they both feel pressure to live up to others' expectations. Du Pont, in particular, wants to prove himself to his mother (Vanessa Redgrave), who breeds world class horses and finds wrestling barbaric. John's desperation, bottomless checkbook and unresolved family issues make for a dangerous combination, and his relationship with Mark slowly begins to change for the worse. Further complicating the matter is Dave, the only man capable of saving Mark from his demanding expectations of himself and whose coaching expertise intimidates du Pont.

The often unspoken psychological warfare between the three (and, perhaps most importantly, du Pont and his mother) is the driving force of the story more than anything that actually happens on screen. Mark's ups and downs as he competes at the '87 World Championships and '88 Olympic trials are symptomatic of his mental state and the state of his relationship with the other men. As such, "Foxcatcher" is a long, at times brooding film that can drag in spite of the brilliant character development and internal drama.

E. Max Frye and Dan Futterman's script is quiet and doesn't have a lot of big juicy moments for its actors to lean on, so the fact that Carell is totally haunting and captivating in this role says a lot. Du Pont is an incredibly complex character whose back story is mostly implied so as to keep him as unpredictable as possible. Even with all the makeup on, Carell gives the epitome of an understated performance, something you would never dream possible from a guy who has made a career out of big acting and abrasive characters. Undoubtedly some credit goes to Miller, who has churned out acting nominations and wins for his previous casts, and gets Carell and Tatum to pause and linger at all the right moments.

With those two in transforming roles, it's easy to overlook Ruffalo (who always seems to get overlooked). Dave is the comparison point for both these men. He's a family man who is smart, has accomplished a lot and knows what it truly means to work hard. Ruffalo brings his trademark authenticity to his part as the "good guy" and does it so well.

Even when it's too quiet and languishes, "Foxcatcher" is a fine piece of cinema and Miller has established himself as a true auteur. It certainly does not satisfy in the mainstream sense, but its purposeful use of imagery, total avoidance of melodrama and magnifying glass on the human condition make it an undeniably sharp and intelligent art film to be sure.

~Steven C Thanks for reading! Visit Movie Muse Reviews for more

A film that takes its time presenting its case, Bennett Miller's wickedly brutal "Foxcatcher" entices audiences to learn more about the questions around us, and where they could lead. Seated firmly in the center are a trio of dazzling performances from Channing Tatum, Steve Carell, and Mark Ruffalo, all of which make a compelling case for their career best works.

Written by Oscar-nominee Dan Futterman and E. Max Frye, "Foxcatcher" tells the story of Mark Schultz (Tatum), an Olympic wrestler who befriends billionaire John Du Pont (Carell) in the mid-1980's. Along with his brother Dave (Ruffalo) and his wife Nancy (Sienna Miller), that new relationship leads to unforeseen consequences.

At the core of this morality tale is Bennett Miller, the Oscar- nominated director of "Capote" and "Moneyball." He allows"Foxcatcher" to study its subjects, and give the audience an in-depth understanding of all the motives involved. With the help of Cinematographer Greig Fraser, and composer Rob Simonsen, the movie's melancholy atmosphere is truly compelling. Miller's brilliance isn't in things he chooses to show, but in the things he chooses not to. He draws out scenes that offer so much to the narrative. There's still so much left on the table that we do not know, which in itself, is perfectly acceptable. Life never gives us all the answers we seek. Miller, Futterman, and Frye understand this. Material like this calls to be made into a film. I'm so glad that these three answered the call.

What Steve Carell achieves as John DuPont is not just a performance by a full embodiment. With strength and precision, he understands DuPont, a man with an extreme outlook on reality. Carell doesn't just ask us to sympathize with John, between his awkward behavior and his constant yearning to impress his family's legacy, he demands our understanding. If I didn't already know about the film for the past two years, I wouldn't have recognized him. His performance is completely focused and profound. Looking at the way he carries himself through the film, you are witnessing one of the purest creations of a character this year. When he's not on-screen, you're secretly wishing he was.

When it comes to Channing Tatum, I have to admit that I never FULLY understood the appeal. Discovered the young ferocious actor in Dito Montiel's "A Guide to Recognizing Your Saints" nearly a decade ago, and afterwards was only mildly entertained by his presence in films like "21 Jump Street" and "Side Effects." What he does in Miller's film is something beyond anything I could have ever thought he could do. Tatum doesn't just do an imitation, he channels the inner workings of a man desperate for more. His peculiarities are richly on display as he yearns for a father figure outside of the shadow of his more successful brother. He embraces the odd DuPont, against all logical instincts, but you can see exactly why he would feel so compelled to do so.

Mark Ruffalo gives Dave the ticks and beats of an original creation. Picking at his beard (something I know all too well), constantly engaging in team leadership, and hugging his younger brother whose more of a son than anything. Ruffalo mounts himself on the perch of a loving brother just trying to create success for himself and his family. This is another solid outing for him.

Co-star Vanessa Redgrave, as John's fragile mother, is marvelous in her short scenes while Sienna Miller adds a needed dynamic to understanding both Mark and Dave. The two women both offer compassion and balance.

"Foxcatcher" is terrifying, disturbing, and utterly engaging. A slowly unraveled piece that is risky but pays off immensely. It's cautious yet strictly well-defined as a character study. Like all great films with great performances, its element of truth is plainly apparent. On the gray-skied farm, we will get to know three interesting men, some of which, we'll never truly understand.

John du Pont has more money than he knows what to do with. He is a miserable man who has spent his life trying to be something he can never be. He is pathetic as an athlete, so he brings in a man who suffers from an inferiority complex despite his earning a gold medal in the Olympics. Mark Schultz should have the world by the butt but he is caught in an aimless quest to earn enough to survive. His brother Dave, who has also been an Olympic champion, has gone on with his life. His love and affection for his brother keep the poor guy going, but it also overshadows him. DuPont decides to create a wrestling club and enlist the help of Mark Schultz and pretty soon the poor schmuck becomes his right hand man. Steve Carell is brilliant as the schizophrenic du Pont who imagines himself the savior of the country. He believe he is a real wrestling coach, even though he knows very little (he is able to look good because he gives huge sums of money to his stable of athletes). Carell's sickness pervades the entire picture as the men he commands begin to see his irrationality for what it is. There is also the classic Freudian stuff. This movie makes one uncomfortable from the get-go and yet we can't take our eyes off the sick man.