Foxcatcher (2014) – Review

Review: Foxcatcher is a dark and intense character study.

The film is about Mark and David Schultz, brothers who both won Gold Olympic Medals for wrestling in 1984. In 1987, Mark is approached by wealthy businessman John du Pont, interested in making his family farm, Foxcatcher, into a wrestling training facility. Mark agrees to join du Pont on his farm, while his brother Dave is hesitant initially, but eventually gives in to du Pont’s financial advances. Mark wants to be the best wrestler in the world, but there is a weird dynamic that starts to develop between him and du Pont that distracts him. Meanwhile, du Pont struggles with feelings of paranoia and jealously, specifically targeted at Mark’s relationship with his brother. As tension mounts, feelings of uneasiness and fear form between each of the men.

Films made as pure character studies are almost unheard of in today’s cinema, as audiences seem to need narrative to direct and engage them. With Foxcatcher, director Bennett Miller seems to have made a pure character study – maybe in the guise of a sports drama. The results of the wrestling matches are meaningless to this film (which seem to be the character’s main focus). Instead, this film is solely focused on the darkness that seems to be brewing in these characters (more specifically John du Pont and Mark Schultz).

John du Pont, as presented, is incredibly powerful, seemingly getting everything he wants. Miller often shows him in meetings with military personnel and surrounded by military hardware (du Pont’s family company is a leader in arms manufacturing). Yet, he grew up friendless and his mother seems to have had a negative impact on his upbringing, creating a man who is very envious of what others have. Maybe deep down, he just wants to be liked, but only on his terms. Growing up in controlled isolation, feeling both powerful and alone, he wants to be respected and have friends, but is jealous of others who garner similar feelings in others.

Meanwhile, Mark Schultz, though an Olympic Gold Medalist, lives in his brother’s shadow. His brother, Dave, is a student of wrestling – competing not only as a world class wrestler but also as an expert coach. Mark has what it takes to be the best, but seemingly only if his brother teaches him and prepares him. In du Pont’s offer to train at Foxcatcher, Mark sees an opportunity to make a name for himself on his own – something he craves; however, without his brother’s positive influence, Mark falls on bad habits and is overconfident. He does not seem to be able to make it on his own, which only feeds into his own negative tendencies.

John du Pont and Mark Schultz form almost a father-son relationship as Mark trains for the World Championships in 1987. At first, everything seems to be going well and they become friends. Yet, Mark finds himself distracted by John’s needs – he wants to be regarded as a good wrestler as well, he introduces Mark to drugs and he is not a real coach even though he likes to think of himself as one and be treated as one. John seems to want all the benefit with none of the work – both in terms of being Mark’s father figure and turning Mark into the best wrestler in the world. The problem is, however, that Mark needs a real mentor and coach, like his brother, to get him ready. Left to his own devises, he is self-destructive. Thus, extreme frustration builds in both men – neither getting exactly what they want out of their relationship in the long-term. John also seems to be emotionally manipulating Mark, making him feel bad much in the same way John’s mother emotionally bullies him.

When Dave joins them at Foxcatcher, it proves to be a recipe for disaster. By this time, Mark is already emotionally finished with John, after failing at the 1988 Olympics and being treated poorly by John. Meanwhile, John, plagued by unfounded feelings of jealously and paranoia, sees Dave as replacing him as the head of Foxcatcher wrestling – as coach – and poisoning his good relationship with Mark.

Miller does not really make big narrative choices with the film in terms of telling a story. The wrestling matches are not really that important (though, they are designed and executed very well and are quite compelling). Instead, he wants the audience to focus solely on the characters – on the anger and madness that seems to grip them. I almost think that the most interesting character is Dave. He seems the most normal and is clearly aware that things are not right with John du Pont and yet he stays and placates him. Is he corrupted by the money that John is offering both him and USA Wrestling? Is he making a personal sacrifice for the greater good of his sport? He also sees the pain and anger in his own brother, who definitely has a hard time in life (for whatever reason). He is very supportive of his brother and does everything for him. Ultimately, he finds himself between these two broken people, and his goodness is eventually enveloped by the darkness that he attempts to take on.

The film is tonally incredibly bleak and intense, and paced quite slow. Miller could have easily staged the narrative as a thriller (as du Pont descends into madness) or given the film more narrative touchstones (or clichés) that the audience recognize in its structure. I call the film a pure character study because Miller simply presents his characters, all narrative elements exist only as background devices to place them in time and space, allowing them to naturally gestate for the audience as complex emotional beings. As a result, the film is very gripping in moments and fairly slow in others. The film is not so much entertainment as it is a deep look into human emotion (focusing more on its darker spectrum: pain, anger, fear, paranoia and so on).

Foxcatcher is brilliant in terms of it character work, exposing its characters’ souls; but it is not an entertaining film and certainly will not work for anyone expecting something light or story-driven. Yet, for those wanting to look deep inside these characters, to explore both the darkness and light of man, it is absorbing.

Technical, aesthetic & acting achievements: Bennett Miller is an excellent director, especially when it comes to digging deeper into his characters. His three features, Capote, Moneyball and now Foxcatcher, all have interesting stories that surround the characters, but Miller focuses on his characters, presenting the narrative elements as purely background – elements that merely place his characters in a moment in time but do not define them. Miller is much more interested in their emotional makeup and what elements in their past have contributed to their emotional makeup in the present. He also elicits wonderful performances from his actors – something that would seem essential for a director that is so focused on character. While I think (objectively) Capote is his best film to date, my personal favorite is Moneyball. I very much look forward to what he does next.

Composer Rob Simonsen’s score is understated, almost nonexistent in many instances; yet, it helps establish the tone of the film very well, as it plays on the darker themes. Cinematographer Greig Fraser’s photography as well seems to cast a very dark, bleak hue over the film, as his palate is almost void of color. Really, the film is rather depressing from a visual stand point (although, Fraser’s work is also very good – there is a beauty to his shots of the farm). Jess Gonchor’s production design grounds the film in a very naturalistic, realistic space. The film feels authentic, both in performance and visual aesthetic.

The performances in Foxcatcher are all excellent. Vanessa Redgrave does not have much screen time as John du Pont’s mother Jean, but her presence lingers over him. She is firm and overbearing in her scenes with him, casting down disapproval, which seems to haunt him. Mark Ruffalo is brilliant in the film. His performance as David Schultz feels extraordinarily natural, as if he were born and lived his life as the character. It is quite remarkable. Steve Carell is incredible as well. His performance is so different than anything he has done before. His portrayal of John du Pont is chilling, as he creates an emotional bully (taking out the emotional burden that his mother puts on him on others). The performance, however, does not feel as natural, as Carell is clearly in a lot of make-up that makes du Pont feel somewhat cartoonish at times. Channing Tatum is also great as Mark Schultz. He is able to emote so much pain and anger, as he seems to not be able to cope with his inner demons.

Summary & score: Foxcatcher features many of 2014’s best performances, as the film explores the dark emotional recesses of its dynamic characters. It is a skillfully crafted pure character drama, in the truest sense. 8/10

The Spectacular Now (2013) – Review

Review: The Spectacular Now is a charming, yet affecting teen drama that escapes the typical genre troupes. The film is about a high school senior Sutter who, living in the shadow of growing up with an absent father, seemingly is content to just live in the moment with no thought for the future. After his girlfriend leaves him due to his attitude towards life, Sutter meets Aimee, a nice-girl who lives what could be called a sheltered life. Though they are quite different, they quickly form a kindred bond. The question is: can Sutter grow into the man Aimee deserves or is he just using her in the moment?

Something that is immediately noticeable in director James Ponsoldt’s film is Sutter’s apparent rampant alcoholism. He is high functioning enough to coast through life perpetually buzzed. But what is interesting in the film is that no one seems to really be that concerned. Either Sutter has been written off as ever being a productive member of the community (which is a sad statement about how society often views individuals with substance abuse issues) or everyone else in Sutter’s life is too focused on their own stuff to really notice. There is probably a little bit of both at play – plus, his generally inebriated state is such a part of his personality that it is just accepted as being normal, which speaks to how alcoholism is very often pushed to the dark corners within society, a dark secret that no one wants to talk about until something drastically goes wrong.

What is most striking/shocking is that Sutter’s relationship with Aimee seems to greatly benefit him in terms of his own personal growth, and yet she also enables him and his bad habits. Essentially, Sutter starts out treating Aimee as a backup plan and encourages her to drink as heavily as he does (which is alarming, especially in her compliance). She is different than the girls Sutter has typically dated. She is completely innocent and kind, without any snark or cynicism (which in itself is refreshing). She needs him, in a sense, and that gives him a sense of purpose that he likes. They help each other emotionally (he helps her stand up to her mom, and she helps him come to terms with who his father really is). But, Aimee also lives in a fantasy world and cannot see Sutter for who he really is, a deeply troubled young man who is struggling to keep it together. She does not call him on his drinking or on how he is fairly dismissive of her (in that it is clear that he still wants to be with Cassidy, his ex-girlfriend). She never directly challenges him to become the man she deserves, rather she seems to settle for the disaster that he is because she has been alone until she meets him (and thus he has become her whole world – as is often the case with first loves, or love in general). While Aimee allows Sutter to feel a sense of purpose that has been lacking in his life, she is still complicit in his self-destructive behaviors. But the audience is right there with her – Sutter is utterly charming. It is easy to dismiss the cliff he is teetering on.

However, this is one of the strongest narrative aspects of the film. Aimee is not some whimsical fantasy girl (the ‘manic pixie dream-girl’) who knocks Sutter out of his stupor with her cute strangeness. She is just a shy girl who has thrown herself (a bit haphazardly) into her first relationship. Though, she has probably come out of it stronger. Sutter must decide to change on his own, for him not for her. In this way, the film works much more as a character drama than a teen romance, which is why it is ultimately so effective dramatically. Ponsoldt is much more interested in the dramatic arcs of Sutter and Aimee than hitting all the typical romantic comedy notes (though, they film does have a fairly standard structure). Aimee is the catalyst that shakes things up by actually deeply caring about him, but the heavy lifting has to be done by Sutter (addressing his alcoholism and his father issues).

Another aspect of the film that works very well is Ponsoldt’s directing. He clearly values the characters above everything else – their emotional moments, struggles, moments of joy, and so on. Thus, the film is very stripped down stylistically. Ponsoldt basically just allows the performances (which are very strong) to play without really using the camera to add additional meaning or depth. That is not to say that his placement of the camera does not add something, because it does and the framing is often very good, but the camera does not seem to play an influential or dramatic role in the perception or interpretation of the characters. Again, Ponsoldt leaves that to the actors and their wonderful work. The lighting and production design also adds a lot to this stylistic choice, as everything feels very realistic and intimate.

Teen dramas and romances often fall into the trap of being very formulaic, but The Spectacular Now breaths a much needed breath of fresh air into the genre (much like last year’s The Perks of Being a Wallflower). It does not shy away from powerful dramatic moments and ultimately tells a meaningful story of a young man who is lost that finds his way, utilizing genuine emotions and dynamic, dramatically engaging characters.

Technical, aesthetic & acting achievements: James Ponsoldt seems to certainly have an interest in telling stories about how alcoholism ruins lives, but in a hopeful manner as his characters emerge on the other side better off in the end. The Spectacular Now is not as focused on alcoholism as his last feature Smashed (though both exhibit very strong performances from their leads). For Sutter, his drinking is a symptom more so of his issues with his mother and father resulting from his father not being there. What scares me about the film, and what I found so powerful, is that his drinking is just a part of who he is in the eyes of his friends, family, and teachers. No one tries to help him. It speaks to how we are all often complicit in the bad and damaging habits of others, turning a blind eye in lieu of confrontation. Also, that is not the story Ponsoldt wanted to tell with this film. This is much more about Sutter growing up, and the same can be said for Aimee too. I really look forward to seeing what Ponsoldt does next as he is a great emerging talent who took a big step forward with this film.

Aesthetically, The Spectacular Now has an extremely intimate feel (showcased in Sutter and Aimee’s love scene) with the score, lighting, directing, and design all presenting the narrative in a very realistic manner. Composer Rob Simonsen’s score feels delicate as it plays a supporting role to the dramatic moments, never stepping on the performances. The soundtrack is also strong and fits well. Jess Hall’s cinematography is wonderful. It has a beauty to it, often using very soft and natural light. Linda Sena’s production design is also very good, creating a world that both feels very real but also speaks to who these characters are (especially in the juxtaposition of their bedrooms).

The performances carry this film. Mary Elizabeth Winstead, Bob Odenkirk, and Jennifer Jason Leigh are all good in small supporting roles. Kyle Chandler is fantastic in his small role as Sutter’s father, playing completely off-type. Brie Larson is also great as Cassidy, bringing a lot to what would have been a throwaway role in most films. However, the film is primarily a showcase for Miles Teller and Shailene Woodley. Teller gives a breakthrough performance as Sutter. He is completely likably, when he probably should not be. He also carries Sutter’s internal pain wonderfully. He hides it, pushing it deep down, by being fun and upbeat, but the audience can see the toil it is taking. It is one of 2013’s great performances. Woodley plays a character that feels like she is from a generation long past, and in that way has a nostalgic charm. Aimee has not been disillusioned by the world, and probably never will be. Her innocence is not so much a statement on her inexperience, but a testament to the sweetness of her spirit and kindness of her heart. Building off her great work in The Descendants, Woodley is really establishing herself as an elite young talent.

Summary & score: The Spectacular Now is an excellent character drama, built on the brilliant performances from its cast, especially Miles Teller and Shailene Woodley. 8/10

Seeking a Friend for the End of the World (2012) – Review

Review: Seeking a Friend for the End of the World is an uneven road drama, with stuff that works and stuff that does not, but held together by great leading performances and a sincere narrative. The film is about Dodge, an insurance salesman who is abandoned by his wife in the final days before Earth’s destruction by the asteroid Matilda. Thinking about his high school sweetheart, Dodge decides he wants to find her before the world ends. Accompanying Dodge on his journey is his neighbor Penny, who wants desperately to get back to her family in England. She will help Dodge find his past love, and he will take her to a man with a plane. Writer-director Lorene Scafaria structures the film to be a fairly generic road film (though, it does its time to finally get on the road). Dodge and Penny run into strange characters and have misadventures as they make their way. The problem is that most of their encounters on the road are not particularly funny (when they are supposed to be) nor do they work particularly well. Rather, it is Scafaria’s buildup of the characters before they depart and their resolution (which takes up some of the second and the entire third act) after the road trip that is the film’s strongest aspect. The lead characters are both very well played and drawn, and it is in these two sections of the narrative that Scafaria gives them their best character moments. The film is trying to be a dramedy, with the comedy coming from the absurdity of modern humanity carrying on their day-to-day lives in the face of impending doom and the drama coming from the internal struggles of the characters as they come to terms with their own feelings about their lives and inevitable deaths. Scafaria does well with the drama and poorly (for the most part, though there are a few jokes that work well) with the comedy. Most of the random characters and situations that Dodge and Penny meet and find themselves in (clearly played for comedy) do not work and hamper the film’s pacing a bit. However, the character work is strong enough to save the film, and by the end make it quite compelling. Scafaria somewhat shifts the tone of the film, from being a dark comedy to being a drama, as the characters seem to find new meaning in their lives, and suddenly have more to live for and lose. Narratively, she also plays with the overarching structure, shifting it back and forth from character drama to romance, which balances the story by giving it both a lighter feel (along with the comedy) as we watch the characters come to terms with their feelings for each other and a more dramatic feel as the characters also address their own internal struggles. This saves the film from feeling overly generic, both tonally and structurally (I also like that Scafaria is not afraid to sick to her narrative convictions regarding the ending). Seeking a Friend for the End of the World, despite maybe wanting or trying to be, is not so much a quirky dark dramedy, but rather a good character drama that is held back due to some very uneven sections.

Technical, aesthetic & acting achievements: Lorene Scafaria makes her directorial debut with Seeking a Friend for the End of the World (on her second produced screenplay). It is clear that she has a strong handle on getting good performances from her leads, as they are both fantastic and hold the film together. However, much like her first script Nick and Norah’s Infinite Playlist, Scafaria needs to work on tightening up her narrative structure and trimming (or reworking) the stuff that is flat or drags the narrative down. She has a good scene of humor, evidenced by some of the better jokes in the film, but again needs to realize that the film is playing better as a character drama than a quirky comedy and not force bad comedy bits in that detract from the overall momentum of the narrative just for the sake of comedy – it needs to come from a more organic place. I do look forward to her next film, as she clearly has talent and should improve. Composers Jonathan Sadoff and Rob Simonsen’s score is fine for the tone of the film, but the found music soundtrack overshadows it completely. Tim Orr’s cinematography is very straightforward, as is Scafaria’s shooting style. The actors are simply allowed to perform with the camera merely capturing their performances, which is fine given the strong performances. Chris Spellman’s production design is also fairly straightforward. His sets mostly match the characters, as continuations of their personalities. The supporting cast (made up of small bit roles) is very uneven. Some of the performances worked well, dramatically or comically, and some did not. The performances of Martin Sheen, T.J. Miller, Adam Brody, and especially Rob Corddry (whose performance is probably the funniest thing in the film) highlight these small roles. Keira Knightley plays Penny, who is somewhat written to be what film critic Nathan Rabin calls a manic pixie dream girl (or a stock character who does not exist in reality, but cinematically exists to teach male characters to embrace life). However, Knightley’s performance is much deeper than the stock character would seemingly allow. The film is also concerned with Penny’s internal drama and how she will come to terms with it, and she is not solely there to save Dodge (though, that is an aspect to her role). Knightley brings a lot of life to Penny and the film, and juxtaposed to Dodge, who Steve Carell plays to be a black hole, void of love, empathy or even caring, is a necessary component to making the film work (without her, or someone equally skilled, it would just be a drag). Carell can only be so down in the dumps because his negative energy can be bounced off of Knightley. He is also good in the film, playing his typical sad middle-aged character, but to a much more depressing degree.

Summary & Score: Seeking a Friend for the End of the World is not a very good comedy or road movie, but is a great character drama with some strong performances from its leads. 7/10