Foxcatcher

Foxcatcher a pour assises un scénario extrêmement riche en détails et en données psychologiques, explorant de fascinantes zones d'ombre et d'inconfort.

La pertinence d'un film comme Foxcatcher réside justement dans cette façon d'évoquer les « valeurs » d'une nation qui, dans les faits, peuvent engendrer des situations fort dramatiques. De façon très subtile, Bennett Miller nous offre, à sa façon, un film politique.

Au final, Miller signe une œuvre intelligente sur ce que l'on perd à vouloir gagner, délaissant au passage, peut-être avec raison, ses personnages au profit de sa réflexion.

Magnifiquement interprété par Channing Tatum, Mark s'inscrit dans la longue lignée des brutes sensibles et usées du cinéma américain.

Foxcatcher est un film sans fausses notes. Il est également un des meilleurs films oscarisables de l'année (...).

En poulain fonceur, mais coincé de l'intérieur, Channing Tatum obtient de loin son meilleur rôle à ce jour.

Le savoir-faire des frères dans leur sport est sublimé par le savoir-faire de Miller aux commandes de ce film à la facture très classique, sans être convenu. Un portrait glacial du rêve américain.

Ensemble les deux personnages sont assez linéaires et n'évoluent guère…À ce jeu, la première partie est longue et l'on compte véritablement les minutes.

The quiet rhythms of the story are at one with the ripplings of the nuances between the men; few films are as loaded with, and benefit from, churning subtext such as this one. For a story that unwinds over nearly a decade, the director, along with his writers and three editors, achieve a very fine balance both in the rhythms and overall shaping of the drama.

(...) Foxcatcher is a beautiful, deep, psychological thriller that comes together with fantastic performances as a film that is a powerful total package. At the very least, you'll never look at its stars the same way again. 

I need to see Foxcatcher again; I'm still fascinated by the mysteries it holds. There are so many remarkable moments, where the director and his actors are giving nothing short of their all, that are simply mesmerizing, despite the inherent sadness they contain. Great movies have that power, and Foxcatcher is a great movie.

It's a tricky, triumphant portrayal, a tour de force of slow-burning menace. Carell is perfection. So is Foxcatcher, a unique and unforgettable psychological thriller that knocks the ground out from under you.

Despite its hefty 134-minute running time, Foxcatcher doesn't have an ounce of the proverbial narrative fat: If the screenplay, by Dan Futterman and E. Max Frye, is relatively spare in terms of dialogue, it's satisfyingly rich and thorny in its conception of the tightly wound triangle at its center, while Miller's direction evinces the same sustained intensity and consummate control of his material that defined his first two features.

You wouldn't know from Foxcatcher that he was diagnosed a paranoid schizophrenic with active delusions and that he didn't live in a total vacuum.

It withholds insights into characters and smothers the audience with its bleak moodiness. Like du Pont himself, Foxcatcher draws us in without really allowing us to get under its skin

John du Pont's nose becomes a metaphor for the film's lapses in judgement: it's not good, and it probably wasn't necessary, but the film has committed to it, so we're stuck with it.