Mini Movie Memo (and then an afterthought...)

Be wary of billionaire heirs 

I have a great reverence for sport movies that focus away from their sport. Of course, Foxcatcher has wrestling in it, but it isn't defined by it. Instead, erupting from the core and spreading to the peripherals, themes of greed verses resentment and power grappling with vulnerability showcase the darkness of this picture. Predominantly, these thematic roots grow on Foxcatcher Farm, and it is this setting, reminiscent of the Bates Motel from Psycho, where the bulk of underlying madness unfurls and exhibits itself. The story follows two Olympic wrestlers and winners of gold meddles, Mark and David Schultz, who become beneficiaries of billionaire heir, John Du Pont, where he allows them to use his farm to train for the next Olympics, and to house a state-of-the-art gym, in return for Du Pont to act as the Head Coach of the USA wrestling team. Things are not all as they seem though, as the character of John, a socially awkward ermine like creature, becomes enveloped my an insane power that inflicts tragedy upon the Schultz brothers and their family. Everything about Foxcatcher is bleakly captivating, from purposefully awkward dialogue to cold, trenchant direction from Bennett Miller who has just been nominated for the Academy Award for Best Director. One of his prior films, Capote contained an intrinsic theme of isolation in oneself, which is prevalent to Foxcatcher, and is handled as gracefully as it is bluntly by the helmer. The source of this film's power though exists within the acting. Steve Carell, ripping off his habitual comedy label, performs a chillingly authentic portrayal as John Du Pont, where slowness and restraint are key to exemplify insanity. He is up for Best Actor at the Oscars. Mark Ruffalo is terrific and sincere as David Schultz. He is up for Best Supporting Actor at the Oscars. And then there is Channing Tatum, as David's younger brother Mark Schultz. He is not up for an Oscar, yet for me, this is his film. He is brutally honest and dives into deep cavities of emotions whilst being, for the most part, reticent in allowing them to boil over. The Academy's choosing of backing Carell and Ruffalo is just, as they are both brilliant, though Tatum should be celebrating with them. It is comparable with The Fighter three years ago when Mark Wahlberg was snubbed and Christian Bale and Melissa Leo won the plaudits. No matter. It is right that people remember performances, not awards, and that is why Tatum's show as Mark Schultz here won't be forgotten. People will be exhilerated by Foxcatcher; a stark, dark tapestry of tragedy that demands your attention.