Room (2015)

As with The Babadook a year or two ago, I’m again prompted to wonder how this film plays to parents and whether it doesn’t allegorise some of the fears and traumas involved in parenting. I open this way because of all the things the film touches on, it seems to me that the experience of being held captive by a rapist (which is, after all, sadly a real-life torn-from-the-headlines occurrence) is relatively low on the film’s list of interests, though it probably covers more of a realistic emotional arc than, say, the TV show The Unbreakable Kimmy Schmidt. But I get that this is largely because the real-life cases are sensationalised media events, and Room is more interested in how that experience captures an (admittedly dark) side of both being a mother and, to a certain extent, being a woman within a society that empowers this kind of emotional (here literal) imprisonment.

So, yeah, it’s pretty bleak to watch — for all that it eventually opens out a bit — but most of what’s good about the film is in the script and in the acting, especially Brie Larson as the ‘Ma’ (her name is Joy, it turns out). It’s just that in the telling there’s an insistence to certain elements of the directorial style. It’s not merely that I dislike voiceovers (here, it’s the childlike wonder and naïveté of Jacob Tremblay’s Jack who does the duties), but in distancing itself from the kind of domestic horror that The Babadook or We Need to Talk about Kevin (2011) did so well, it layers on rather too thickly a sweeping orchestral score and questing camera movements. The film ends up pushing emotional buttons as voraciously as González Iñárritu, which is to say I imagine it’s going to win quite a few awards, but for me that undermines what it’s trying to achieve in the script. Perhaps I just expected a bleaker and nastier film, but then if this is a film about the fears of parenthood — of inevitably having to let your children into an understanding of the worst of human experience — it’s a film about warmth and security too.


Room (2015)

NEW RELEASE FILM REVIEW
Director Lenny Abrahamson | Writer Emma Donoghue (based on her novel) | Cinematographer Danny Cohen | Starring Brie Larson, Jacob Tremblay | Length 117 minutes || Seen at Picturehouse Central, London, Monday 18 January 2016

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Trainwreck (2015)

I understand that Trainwreck has done pretty well, both commercially and critically, and I feel good about that for the most part. A lot of the blogs I follow are pretty down on Amy Schumer a lot of the time (possibly in the same way that they’re down on Lena Dunham, for not being, I don’t know, inspiring enough, feminist enough, or being too white, whatever), but she’s a pretty sharp comic writer and there are a lot of laughs in this film. Much of the time they come from that comedy of slight awkwardness, of people not quite knowing how to act around one another, but the casting of the right actors is pretty key in achieving that as well. As the male lead (sports surgeon Aaron Conners), Bill Hader is not your usual love interest, and though his great comic skills (honed over his years on Saturday Night Live) aren’t always showcased, he is pretty good at finding the right tone to play his scenes in order to set up the comedy elsewhere, and that’s a valuable skill. There are a number of other SNL alums in smaller roles (some barely there, although Leslie Jones’ cameo on the subway is worth it), but the real surprises are Tilda Swinton as Amy’s orange-skinned boss Dianna and a supporting turn from basketball player LeBron James as one of Aaron’s clients. For James, it’s unexpected because he’s known as an athlete, though he shows a good sense of comedy timing, whereas for Swinton — as ever for Tilda — it’s sheer WTF value, as once again she pops up and whirls offscreen leaving you wondering if that really is her.

Of course, the key is Schumer herself, who has a good sense of her strengths and weaknesses, no doubt honed over many years of running her own show. She allows herself to take a fair number of hits, but (at least initially) isn’t willing to fit into the female romantic lead stereotypes. Her father Gordon (Colin Quinn) is played with pathos, but is a philandering wreck, and there’s a subtle sense of how that has played out generationally. Where the wheels fall off is in moving towards a conventional resolution wherein she turns her back on her vices and makes up for some of the emotional turmoil she’s left in her wake — and I don’t really think she has much to apologise for. I daresay she doesn’t either; who knows, maybe this is down to test audiences or something? But it feels like Schumer is following the screenwriting rulebook, and it’s somehow sad that things take a Bridget Jones’s Diary turn in the man-chasing denouement. Following up on one of the assumed criticisms I opened my review with, it does sadly also feel like some of the racial jokes are a little misjudged, however much self-awareness the writing introduces them with.

But these ultimately are caveats which don’t change the affection I have towards much of the film — let’s say the first two-thirds (it’s somewhat overlong as well). Schumer puts together a character who is believable and likeable and unapologetic about herself, and if that’s what Aaron has fallen for, then it’s a quality that I think stands her in good stead. I certainly look forward to her future comedy moves.


© Universal Pictures

NEW RELEASE FILM REVIEW
Director Judd Apatow | Writers Amy Schumer | Cinematographer Jody Lee Lipes | Starring Amy Schumer, Bill Hader, Brie Larson, Colin Quinn, Tilda Swinton | Length 124 minutes || Seen at Cineworld Wood Green, London, Monday 18 August 2015