The sound of a single gunshot shook the city of Philadelphia this past Monday evening. While local residents sat safely in their homes, a packed house at the Prince Music Theater held their collective breath completely enamored with Bennett Miller’s latest achievement, Foxcatcher. Miller’s impeccable credentials speak for themselves. With two feature films under his belt, and both earning Best Picture nominations from the Academy Awards, Miller’s Foxcatcher has all of the necessary ingredients for making it three in a row.

Channing Tatum takes center stage as Mark Schultz, a 1984 Olympic Gold Medalists in the sport of wrestling and someone who still manages to get lost in his older brother Dave’s (Mark Ruffalo) shadow. But when a multi-millionaire named John E. du Pont (Steve Carell) invites Mark to move into his estate and lead a group of world-competitive wrestlers at his private Foxcatcher facility, Schultz graciously accepts and begins to branch out and form his own legacy. However, du Pont’s powerful manipulation and stranglehold over Mark begins to escalate to the point where even peacemaker Dave Schultz can’t stop an unfortunate tragedy from occurring.

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Foxcatcher‘s cinematic prowess is evident on nearly every level imaginable. Bennett Miller’s finely tuned and nuanced storytelling is a lost art in modern filmmaking. Subtlety is key, and the director carefully places every tiny detail in its necessary place in order to shape this spine-chilling tale of obsession and madness. Channing Tatum gives the performance of a lifetime in a role he seems destined to play. Standing toe-to-toe with his presumably Oscar-destined counterpart, Steve Carell, Tatum reveals a beautifully complex character. A physical beast with a burning desire for another Olympic Gold Medal and a young man determined to pave his own path in life, Mark Schultz is the last person you’d expect to be emotionally frail. Yet, Tatum captures this multi-dimensional character perfectly and, as a result, helps heighten an intentionally unbalanced and disturbing performance by Carell in a rare villainous role. Predatory and shrewd in nature, Carell’s transformational role establishes du Pont’s eerily reprehensible essence and, in many ways, carries Foxcatcher by itself.

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In addition to a well-crafted story and a pair of superb leading performances, Foxcatcher rhythmically mounts an enormous amount of tension that builds like a symphony. Gradual and meticulous in its approach, what some may view as a slow-paced character study can also be described as a ticking time bomb waiting to explode. And when it finally does, your heart will burst out of your chest in one single instance. Similar in vibe to another slow-building and agonizing journey of impending doom with 2012’s We Need to Talk About Kevin, Foxcatcher cloaks its rapacious themes with illusions of patriotism and grandeur. Everyone is in need of something, but as you sometimes come to discover in a real-life tragedy such as this, you must be careful what you wish for.

Foxcatcher is by no means a feel good story or a film you should seek out to enjoy, but rather a deeply insightful and provocative examination into one of our country’s most perplexing crimes. Anyone fascinated by this national story is guaranteed to be utterly consumed from opening to closing credits. With Foxcatcher, Bennett Miller paints a perfect portrait of all his characters, an epic accomplishment that will undoubtedly stand as one of 2014’s most prestigious films.

GRADE: 5/5

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Ironically, since its debut at the Cannes Festival in France last year, We Need to Talk About Kevin has been the film everyone’s talking about. In retrospect, director Lynne Ramsay’s 9 year hiatus seems perfectly calculated, much like the actions of the movie’s title character Kevin. The film, which is based on a 2003 novel of the same name, has officially been in the works since 2005. Sometimes, good things are worth the wait.

We Need to Talk About Kevin follows Eva (played by Swinton), the mother of a teenage boy who executes a brutal massacre at his suburban high school. From a very early age, Eva senses something distinctly off with her first born child Kevin (played by Miller). As the years pass, Kevin’s actions become more and more destructive. Eva tries to confide in her husband Franklin (played by Reilly), yet he wants no part of it. “He’s a sweet boy” replies Franklin. Therefore, knowing she never did enough to prevent this horrific killing spree from happening, Eva spends every waking day bearing responsibility for the tragedy.

Academy Award winner Tilda Swinton leads a phenomenal cast in one of the year’s most explosive films. The actress is spot on in her role as an emotionally drained mother coping with a tremendous amount of grief and regret. The beauty behind We Need to Talk About Kevin rests in the psychology of its lead character Eva. As Swinton demonstrates perfectly, Eva’s guilt stems from two different places. First, she feels responsible for not stopping the monster she has seen brewing inside of Kevin since he was a child. Also, Eva sees far too much of herself in her son. All of her darkest qualities are brought out by Kevin and, as a result, she welcomes the abuse delivered by her community after the tragic events transpire. Such a brutally honest portrayal should have landed Swinton a Best Actress nomination at the Oscars, however, her exclusion from the ceremony was unforgivable. In addition to Swinton, Ezra Miller gives a fantastic performance as Kevin. Miller is remarkable in his role as a cold and cynical teenager. He takes command of every scene and it culminates in a spine chilling experience. Hence, We Need to Talk About Kevin succeeds, in large part, because of its amazing cast.

Lynne Ramsay does a spectacular job of masterminding an intense psychological thriller. The film creates an obsession for the audience, a desperate desire to know why Kevin has done what he’s done. All of this intrigue makes for a thought provoking movie experience. In a clever fashion, Ramsay gives enough scattered pieces of the puzzle to allow the viewer to put it all together. We Need to Talk About Kevin is wonderfully crafted and brilliantly executed. Therefore, it’s hands down one of the best films of the year.

As always, there will be a few naysayers and skeptics. Many will argue that the actions exemplified in Kevin’s early years are unrealistic and unbelievable. The young boy illustrates a stunning amount of understanding throughout his childhood. To me, however, this only strengthens the story and solidifies its authenticity. You should never take for granted the intelligence of children. And although the film progresses slowly, We Need to Talk About Kevin constantly builds in intensity and you’ll never want to peel your eyes from the screen.

Finally reaching cities across the United States in a limited release, We Need to Talk About Kevin‘s theatrical release schedule can be seen here. Now that the film is available in most cities from coast to coast, it’s a must see. And even though the movie revolves around a high school massacre, much of the violence is left to the imagination. Therefore, no excuse is good enough to miss this film.

Stars: 3 and a half stars out of 4

Grade: A-

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