(2015) Drama (A24) Brie Larson, Jacob Tremblay, Joan Allen, Sean Bridgers, William H. Macy, Wendy Crewson, Amanda Brugel, Joe Pingue, Cas Anvar, Zarrin Darnell-Martin, Tom McCamus, Sandy McMaster, Jee-Yun Lee, Matt Gordon, Randal Edwards, Justin Mader, Brad Wietersen, Jack Fulton, Kate Drummond, Chantelle Chung, Megan Park. Directed by Lenny Abrahamson
The world is what we perceive it to be. For some, the world is vast and extends far beyond our planet. For others, the world is boiled down to the small space of their room.
Ivy (Larson) has a very close relationship with her son Jack (Tremblay). On the occasion of his fifth birthday, she bakes him a cake. He watches TV and she makes sure he gets plenty of exercise. She tucks him into bed at night with a story, then awaits the return of his father.
But this isn’t an ordinary situation. Their home is an 11×11 garden shed and his dad kidnapped Ivy when she was 17, tricking her into getting into his car by appealing to her compassion. Since then he has kept her locked up, raping her regularly (and inadvertently creating Jack) for seven years. Their only contact with the outside world is a skylight which mostly just allows them to see passing clouds. For Jack, Room is the entire world.
Finally, his mother devises a bold escape plan and the two are finally liberated. For Jack, his world has suddenly expanded like a sponge thrown into water. For Ivy, it means a reunion with her mom (Allen) and Dad (Macy) who have divorced in the aftermath of her kidnapping. It means coping with the media which clamors to hear her story. It means adjusting to freedom, something Jack has never known.
But the thing is, both of these souls are wounded, suffering from acute Post-Traumatic Stress Disorder, even if Jack hasn’t known any other life than Room, now he has to completely readjust his world view which is no easy task even for a five-year-old. Ivy has to deal with reintegrating herself into a world which has moved on without her, and she has to deal with the reality of what was done to her. She is no longer in survival mode and that can be the most dangerous time of all.
Room, which is based on an extraordinary novel turns out to be an extraordinary film. Abrahamson has taken the script, adapted for the screen by the novel’s author, and breathed life and color into it even if the color is mostly grey. The movie is set in Ohio during the fall and winter and it seems to be eternally raining, snowing or cold. Even the interiors are full of fall colors, the hospital where they are kept briefly sterile white. Only Room has bright colors, which is both ironic and intentional.
The effect brings a chill to the audience even if considering the horrifying circumstances that Ivy endures does not. And make no mistake, while those circumstances mirror several real life cases in which women were imprisoned, used as sex slaves and forced to bear children by their captor, this is a unique story unto itself and completely fictional – and completely plausible.
What makes this work are incredible performances by Larson and Tremblay. Their relationship is at the center of the story, and it is happily an authentic one. Larson has turned in several outstanding roles in a row and for my money is emerging as one of the best young actresses around. Don’t be surprised if Oscar comes knocking on her door for her work here, and certainly don’t be surprised if she nabs some high-profile roles because of it. Her character is strong on the outside, but the facade is crumbling and revealing an inner vulnerability that is heartbreaking, particularly when things come to a head about midway through the film.
Tremblay plays a child who gets frustrated, particularly when told things he doesn’t want to hear and often acts out with screaming tantrums – in other words, a typical five year old. While I think a few too many of these fits of anger are presented here – we get the point of his frustration and after awhile like any child’s tantrum they grow wearisome – that is certainly not the fault of this young actor who delivers a mature performance many veteran actors would have trouble producing. This may well be the top juvenile performance of the year.
Speaking of veteran actors, Joan Allen – one of Hollywood’s most underrated actresses – does a stellar job here as a mother who has to readjust to having her daughter back after thinking she was lost forever, and having to deal with that daughter’s own rage issues, and shifting inability to cope with all the emotions that are just now coming to the surface. Allen delivers a character who is magnificent in her grace and patience. She’s the kind of mom we all would want to have.
The story is not an easy one to watch. We are looking at people who are soul-sick, who have all suffered at the hands of the actions of one monster. All of their lives have been shattered – even Jack’s although he never knows it – and picking up the pieces is no easy thing. In many ways this is a story that is genuine and authentic. It deals not just with the physical aspects of the story, but the emotional ones as well and you’re likely to be thinking about it long after the movie is done.
It may be too intense for some; some of the scenes are raw and hard to watch. Still, thinking about it, I think you’ll agree that sitting through those scenes may feel awkward at times but it is well worth the effort. Clearly one of the best movies of the year.
REASONS TO GO: Searing performances from Larson and Tremblay. Excellent supporting performances by Allen and McCamus. Taut, excruciating story.
REASONS TO STAY: The frequent tantrums can be annoying. May be too intense for some.
FAMILY VALUES: Adult situations, intimations of rape and plenty of foul language.
TRIVIAL PURSUIT: Joan Allen and William H. Macy played husband and wife in Pleasantville as well.
CRITICAL MASS: As of 11/12/15: Rotten Tomatoes: 96% positive reviews. Metacritic: 85/100.
COMPARISON SHOPPING: Kiss the Girls
FINAL RATING: 8.5/10
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