Geoffrey Rush and Armie Hammer appear in a scene from "Final Portrait."

“Final Portrait” is a buddy film and a bio-pic rolled up in one – with one huge ace up its sleeve, Geoffrey Rush.

The Academy Award winning actor gives one of his best performances in recent memory playing world-renowned artist Alberto Giacometti – inhabiting Giacometti’s every nuance and neurotic tic.

“Final Portrait” is set in Paris in 1964 with James Lord (Armie Hammer) asked but Giacometti to sit for a portrait. Lord agrees with the understanding that it will only take a few days, but before long the few days has turned into a few weeks with Lord unsure if the session will ever end.

As the days mount up, a friendship develops between the two – with Lord getting a glimpse into Giacometti’s career and his regrets both in his work and his personal life.

Under the watchful eye of director Stanley Tucci, “Final Portrait” is filled with an undercurrent of humor throughout – crisply paced, allowing its two lead actors the chance to really sink into their respective roles.

Hammer’s performance isn’t quite as sharp as Rush, a performance that feels like the same thing we’ve seen the actor do in previous films. I wish Lord could have went a little more tit-for-tat with Giacometti, but Hammer just doesn’t consistently match Rush’s intensity and showmanship.

There are other supporting characters in the film – the best being Tony Shalhoub as Giacometti’s brother – but this is essentially a two character film, with one man stealing the show.

Rush makes it all work, even when it sometimes feels like you know what’s coming. He encompasses everything Giacometti was about with a performance that is as passionate as the artist Rush portrays.

Starring: Geoffrey Rush, Armie Hammer

Directed by: Stanley Tucci

Rating: R for language, some sexual references and nudity

Playing at: Regal Green Hills Stadium 16 in Nashville (Opens Friday)

Grade: B