Naked emotion, star-making performances from writer, director, Larson and Tremblay

Rating: 7/10 (23 December 2015)

Right from the first scene, Lenny Abrahamson shows us so much with a simple piece of information. Ma loses a tooth, making us realise she's not seen a dentist in years; Jack falls in love with a mouse because it's real, remaining us that he's likely never seen a living, breathing creature. We ache for Jack's lost innocence but also the same for his spiritually broken mother. When the two of them scream at each other, we feel the tragedy for both of them. Eventually, of course, Jack and Ma make it out of Room and Abrahamson does a terrific job at conveying Jack's terror at a world he doesn't understand. Shots from Jacob's POV are filtered, shaky and intrusive with extreme front-lighting, making us flinch back from the screen. The choice of music creates a sense of wonder but also a sense of sadness, and the inspired choice of casting the doctor to look exactly like their captor makes Jack's fear palpable. The whole film is cleverly from Tremblacy's point of view, replicating that spectator experience Jonathan Demme created in Rachel Getting Married. It is like you are there with Jack the whole time. The escape scene has the emotional resonance that Frank Darabont brought to The Shawshank Redemption, and even some of the small spats between Tremblay and Larson are reminiscent of Rian Johnson's Looper.
The film breathes on the achingly beautiful performances by Brie Larson and Jacob Tremblay. Larson's spirit is completely broken and we learn that early on from a rape scene where Old Nick is chatting nonchalantly as if she's a normal relationship. We see naked emotion play clearly across Larson's face as she is traumatised by a terrible interview question, scared by the knowledge that there may be no way for them to rescue her even if Jack did escape, embittered by her realisation that her friends all lived normal lives, and enraged by her father's refusal to acknowledge her son. Her performance is truly spectacular, but of no less import is Jacob Tremblay. He carries the film on his tiny shoulders and does such an incredible job in portraying Jack's emotions. A scene in which he cries about his imaginary dog will make you long to console him and then a later scene where he meets an actual dog will bring an enormous smile to your face. William H. Macy feels underused but is solidly excellent in his small role as Joy's father, whilst Joan Allen is a firm hand on the final third of the film and sets up a great Oscar-scene between herself and Larson.
Emma Donoghue's screenplay is well-balanced between Jack's discovery and the events actually taking place. The character of Old Nick, whilst well-acted, is a great testament to Donoghue's writing more than anything else. There is a demented sense of morality in his words that show you he feels no remorse. That is what makes him a great villain. Donoghue's superbly written scenes make the movie what it is, everything else is a vital but supporting piece. This film would have stank with a lesser screenplay.
Room is a film of small scope but grand effect. In many ways it is the Boyhood of this year. There's so much naked emotion floating around in this beautiful film that it's impossible not to be touched.