Capote

It had to happen sooner or later - Philip Seymour Hoffman finally gets his just reward - a starring role in a movie after stealing scenes in pretty much everything he’s appeared in.

From Happiness and The Talented Mr Ripley to Magnolia, Almost Famous and Punch-Drunk Love, Hoffman has been a face to watch.

Even in dross like Along Came Polly and Red Dragon, he's been the redeeming feature - the reason not to leave to catch last orders, switch off the DVD or, in the case of Along Came Polly, try and leave the aircraft.

The camp and lisping Capote is an obvious outsider when he arrives with his researcher Harper Lee (yes, that one) in Kansas to cover the horrific murder of a family.

But he uses his manner to command respect and get access to whoever and whatever he wants by a mix of charm and Southern manners.

Capote draws on extensive interviews with one of the killers, the quiet and articulate Perry Smith, and decides to expand the article into a book, In Cold Blood, which will become one of the great works of 20th century American literature.

Capote’s compassion for Perry leads him to help the defendants but he faces a dilemma, as their execution is the only solution that will allow him to finish the book.

It goes without saying that the performances are flawless all round – the film has a superb supporting cast, notably that other renowned scene-stealer Catherine Keener as Capote’s friend and researcher Harper Lee.

But this is Hoffman’s film. If there were any justice they’d just give him the Oscar now and save everyone’s time.

Aside from the excellent supporting cast, Hoffman’s aided by an excellent script by Dan Futterman, himself an actor who’s appeared in the likes of Shooting Fish and played Gene Hackman’s son in The Birdcage.

Add to this a wonderful evocation of the period with the production design, costumes, make-up and wonderful ‘scope cinematography and you have that rare thing – a genuine film for grown ups.

Adrian Zak