Foxcatcher review

Without quite understanding how or why, the remarkable set of events that took place on Foxcatcher Farm in the 1980s and 90s are mostly unreported, making for a true story that it seems few are actually aware of. First and foremost it’s fascinating to know that tales of this ilk exist, and are still out there, ripe with cinematic potential – while it’s also worth mentioning that if you are oblivious to this narrative, then whatever you do, keep it that way – because it will do nothing but enhance your experience when watching this distinctively memorable feature.

Channing Tatum plays Mark Schultz, a wrestler and Olympic athlete competing alongside his older brother, David (Mark Ruffalo). Forever feeling as though he is in his brother’s shadow, Mark jumps at the opportunity to spearhead the Foxcatcher team – run by the infinitely wealthy John du Pont (Steve Carell). Included in the deal is an embarrassment of riches: and the opportunity to live on the farm in a plush apartment, miles away from the dingy flat he left behind. Flattered, and somewhat bewildered by the level of support du Pont is showing him, Mark begins to idolise the multi-millionaire, as their dynamic becomes more like that of a father and son – which is thrown into disarray when du Pont wants to bring David over to join his collective as they train for the 1998 Olympic Games in Seoul.

Where Foxcatcher excels most predominantly, is in the unforgettable atmosphere created by director Bennett Miller. There’s an ominous, bleak morbidity to this picture, and the cold ambiance is exceedingly perceptible. It makes for a film that can take a while to fully appreciate, because when the credits roll it’s easy to feel unsure, given the lack of emotional investment and disengagement towards these distant, withdrawn protagonists. But as time progresses this film sticks with you whether you like it or not, being a film that, despite your intent, is a challenge to shake off. But that is by no means a negative thing, as not every film you see needs to be warm and inviting. Filmmakers have a responsibility to be reflective of the story being told, and you can safely say there is absolutely nothing warm about this particular story.

The performances are also astounding, with Carell the pick of the bunch, taking on a role that is a real departure for him given his inclination for comedy. However he is dark, sinister and so vacant, and this entire film hinges on that very performance. It was undoubtedly a risk casting the actor in a role like this, but it is one that has most certainly paid off.