This isn’t the thriller or dark story you expect, as with most films based on actual events. For most, “Foxcatcher” might be rather dull. They’re not entirely wrong, but all good things come to those who wait (or something like that).

Steve Carell stars as John du Pont in “Foxcatcher”, a film that is sure to be an Oscar contender. (photo courtesy of Sony Pictures Classics)

Sloth-pacing aside, Steve Carell has never been this visceral. The former boss of the Dunder Mifflin paper company in Scranton, PA knows his way around awkward prose, but his take on the real-life millionaire John du Pont will repulse you in a whole new way.

Even with his own Olympic gold metal, Mark Schultze (Channing Tatum) still lives in the shadow of his older brother, David (Mark Ruffalo). That might just change with the help of Mr. du Pont (Carell), who wants to fund the next wrestling team at the 1988 Seoul Olympics. This du Pont stands for American morals, so he says –– the nation needs a symbol of hope. It all seems wonderful, and Mark buys it wholeheartedly.

Things go well for a time, but this isn’t an inspirational sports flick; it’s something else entirely. Sure, you’ll struggle alongside Mark as he tries to drop 12 pounds in 90 minutes. And you might cringe as he repeatedly hits himself in the head (it’s a jock thing, I guess … at least an emotionally distraught jock thing). But the real torment here is the dysfunctional relationship that materializes between a powerless millionaire and a powerful man-child, and how it all goes down.

“Foxcatcher” exists for awards season. I don’t mean that in a demeaning way, but this is challenging stuff to sit through. I’ll say this though: don’t expect the film that is presented in the trailers. It’s not always dark, but never quite an enjoyable affair. And rightly so, considering the actual history behind what transpires. But stop, don’t look it up. The tension is so much greater if you know nothing.

Fresh off his critical acclaim for “Moneyball”, director Bennett Miller’s follow up feels more like his first Best Picture nom, “Capote”, depicting people who just don’t know what it means to be human. The only redeeming characters here are David (Ruffalo) and wife Nancy (Sienna Miller). But nobody seems to care about their rational, caring advice. That’s real life for you.

Carell deserves a golden man for this film. I imagine he’ll appear in the supporting actor category, but this is just as much his film as Channing Tatum’s. The nose makeup alone might freak you out. At the very least, it will easily help you look past his comedy résumé. Add to that a performance so unsettling you might just thank the movie gods that Carell looks so different, lest he be ruined forever.

But Carell isn’t your usual brand of disturbing. At first, he’s just lonely, looking for companionship –– a purpose to live beyond the confines of the family estate. Mommy (Vanessa Redgrave), in particular, doesn’t think the onsite training facility complements her prize-winning horses in the stable. And as things unravel, we meet many different versions of the wannabe coach: caring father figure, frat boy, insecure momma’s boy and paranoid recluse.

Channing Tatum appears as wrestler Mark Schultz, and Mark Ruffalo stars as his brother David Schultz, in “Foxcatcher”. (photo courtesy of Sony Pictures Classics)

As for Tatum –– the guy continually redefines his career. From “Step Up” to a slew of action flicks, he seemed fated to revel in the mundane –– king of forgettable popcorn movies. But then came “21 Jump Street” and “Magic Mike” in 2012. Now this. True, depicting a wrestler is hardly beyond his abilities, but there is a subtlety to his performance. He’s a broken man navigating life as an athlete and brother, never quite succeeding at either.

The only likable character is Ruffalo, as David, the more successful brother with a heart of gold. Ruffalo rarely plays the lead, but he tackles most roles with ease. He deserves special praise for bulking up and learning how to wrestle at age 46. But he is the Hulk after all.

Screenwriters E. Max Frye and Dan Futterman compose an eerie tale that comes to a climax thanks to Miller’s vision. He takes his time — sometimes excruciatingly so — but the result is a film that sticks with you, even when you’d rather just re-watch “Rudy”.