Adopting a story that tragically resembles real-life accounts, and presenting an opening 40-or-so minutes that prove an uneasy watch, Room is an initially cold but masterful drama all the same. Describing the film as cold is not a criticism on its part though as director Lenny Abrahamson has displayed such skill in housing the film in the titular space that it’s tough to escape the horrific situation its protagonists find themselves in.
For seven years Joy (Brie Larson), affectionately known as “Ma”, has lived in the squalor of an inhospitable garden shed following her abduction as a teenager. Routinely raped by her captor “Old Nick” (Sean Bridgers) Joy and her young son Jack (Jacob Tremblay) have created an existence for themselves; for Joy it’s a life she tolerates, for Jack it’s the only one he’s known. As we view Joy and Jack go about their days in the prison they simply refer to as “room” it’s difficult to not become incredibly angry and frustrated as a viewer as Abrahamson doesn’t sugar-coat any aspect, and the villainous creation of Nick is one of evil in its purest form. The utter hopelessness of Joy and Jack displayed through the performances of Larson and Tremblay is simply heartbreaking, and had the entire film been confined to the miniscule scape of the room, it would perhaps be far too upsetting to watch.
Thankfully Room moves beyond its dimensions around the aforementioned 40-minute mark as our captives emerge into a functioning society that is all too foreign to them; Jack especially as his upbringing was intentionally stunted by Joy – she denied the existence of the outside world – in an attempt to give him the most normal upbringing their situation allowed. In a film that’s minimalistic in scope but complex in its nature it’s the performances that are ultimately going to guide it to fruition, and what Larson and Tremblay have delivered is nothing short of flawless. As she proved in Short Term 12 Larson is an on-screen personality that quietly demands your attention, her emotional range is stunning as she evokes both undying love for her son and subtle signs of crazed exasperation understandably brought on by the mental stress, and uncertainty, of her situation.
As incredible as Larson is (she rightfully won the Golden Globe for Best Actress in a Drama, and seems poised for similar Oscar glory) ‘Room’ belongs to the revelation that is Tremblay. The discipline he possesses as an actor at only 9 years of age is astonishing, and the performance itself is one of the greatest child turns cinema has ever had the pleasure of experiencing; he really is that good! Next to Larson and Tremblay is an array of equally impressive talent including Joan Allen and William H. Macy as Joy’s now-divorced-parents who are unprepared for the sudden re-appearance of their daughter; Macy, in a role that equates to little more than an extended cameo, is quite effective as he harbors unease towards the existence of Jack. Tom McManus, as Allen’s new husband, is also worthy of a mention in a beautifully layered performance that emerges as one of Room’s most tender; his character’s attempt at quietly forging a relationship with Jack soften some of the harder edges the latter half of the film presents.
A difficult but rewarding film, Room is a major accomplishment for all involved. The career-making performances from both Larson and Tremblay are enough to recommend this incredibly affecting film to anybody who values quality cinema.
Review Score: FIVE STARS (OUT OF FIVE)
Room is in cinemas from today.
———-
