 Most of Hoffman 's notable roles came in arthouse films , including particularly original ones , but he also featured in several Hollywood blockbusters . He generally played supporting roles , appearing in both dramas and comedies , but was noted for his ability to make small parts memorable . Peter Bradshaw , film critic for The Guardian , felt that " Almost every single one of his credits had something special about it " . Hoffman was praised for his versatility and ability to fully inhabit any role , but specialized in playing creeps and misfits : " his CV was populated almost exclusively by snivelling wretches , insufferable <unk> , <unk> and outright bullies " , writes the journalist Ryan Gilbey . Hoffman was appreciated for making these roles real , complex and even sympathetic ; while Todd Louiso , director of Love Liza , believed that Hoffman connected to people on screen because he looked like an ordinary man and revealed his vulnerability . Xan Brooks of The Guardian remarked that the actor 's particular talent was to " take thwarted , twisted humanity and ennoble it " . " The more pathetic or deluded the character , " writes Gilbey , " the greater Hoffman 's relish seemed in rescuing them from the realms of the merely monstrous . " When asked in 2006 why he undertook such roles , Hoffman responded , " I didn 't go out looking for negative characters ; I went out looking for people who have a struggle and a fight to tackle . That 's what interests me . " 
