Finding his run in the remake of The Office to be hilarious,I've been meaning to see Steve Carell's Oscar nominated role,but have somehow always missed the chance. Finding out it was to be shown on the BBC, I got set to finally catch the fox.
View on the film:
Keeping any punchlines in the foxhole, Steve Carell gives a reptile- like performance as du Pont, whose stoic manner and fading vocal delivery cast a shadow of a man worn down to the bone.
Smashing his head into a mirror as an improv, Channing Tatum gives a very good performance as Mark,whose passion for the sport Tatum turns from energetic to tired, whilst Mark Ruffalo gives the bio-pic some real folk charm as David.
For the third in his "Based on true life" trilogy, director Bennett Miller & cinematographer Greig Fraser wrestle with a raw, unsettling calm atmosphere,as lingering shots on the conversations between Pont and Mark grab the sour turn the almost father/son relationship takes.
Backed by a very good somber Industrial hum from Rob Simonsen, the screenplay by E. Max Frye and Dan Futterman successfully grapple with the decade spanning time-line, by wonderfully building the gradual breakdown of the relationship between the Schultz and the increasingly reclusive du Pont, as the foxcatchers get outfoxed.
View on the film:
Keeping any punchlines in the foxhole, Steve Carell gives a reptile- like performance as du Pont, whose stoic manner and fading vocal delivery cast a shadow of a man worn down to the bone.
Smashing his head into a mirror as an improv, Channing Tatum gives a very good performance as Mark,whose passion for the sport Tatum turns from energetic to tired, whilst Mark Ruffalo gives the bio-pic some real folk charm as David.
For the third in his "Based on true life" trilogy, director Bennett Miller & cinematographer Greig Fraser wrestle with a raw, unsettling calm atmosphere,as lingering shots on the conversations between Pont and Mark grab the sour turn the almost father/son relationship takes.
Backed by a very good somber Industrial hum from Rob Simonsen, the screenplay by E. Max Frye and Dan Futterman successfully grapple with the decade spanning time-line, by wonderfully building the gradual breakdown of the relationship between the Schultz and the increasingly reclusive du Pont, as the foxcatchers get outfoxed.