Regie:
Lenny AbrahamsonDrehbuch:
Emma DonoghueKamera:
Danny CohenMusik:
Stephen RennicksBesetzung:
Brie Larson, Jacob Tremblay, Sean Bridgers, Joan Allen, William H. Macy, Amanda Brugel, Cas Anvar, Jack Fulton, Megan Park, Tom McCamus, Rory O'Shea (mehr)Streaming (4)
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Brie Larson läuft in ihrer mit Oscar und Golden Globe ausgezeichneten Rolle zur Höchstform auf. Gefangen in einem Schuppen im Garten ihres Entführers bereitet sie ihren in der Haft geborenen Sohn (Jacob Tremblay) auf die Welt außerhalb ihres Kerkers vor. Nur mit ihm gelingt die abenteuerliche Flucht. Joy ist vor sieben Jahren auf dem Weg nach Hause entführt worden. Ihr Peiniger hält sie seither in einem kleinen Schuppen im Garten gefangen. Jetzt feiert ihr in Gefangenschaft geborener Sohn Jack bereits seinen fünften Geburtstag. Der Bub kennt nichts als den Raum. Joy plant eine waghalsige Flucht aus dem Kerker und bereitet Jack auf die wunderbare Welt draußen und ein Leben in Freiheit vor. (ORF)
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Eine wirkungsvolle und bemerkenswerte Sonde in die Psyche eines gefangengehaltenen Menschen, sowohl eines Erwachsenen als auch eines Kindes. Ein unauffälliger irisch-kanadischer Film, der mich tief berührt hat, und ich bin sehr froh, ihn gesehen zu haben. Ich bin der FilmBooster und dem Vertreiber für die Spezialprojektion dankbar, solche Streifen braucht man in den tschechischen Kinos, auch wenn keine begeisterten Zuschauermassen kommen werden.
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A really rough story that couldn’t have gotten a better movie adaptation. The best scene comes in about half of the movie. I was just staring, completely speechless. Not only is it great how this movie tackled the difficult premise, but also that it includes the consequences and I really liked that. What’s more, the previously unimpressive Brie Larson has shown how great her acting can be in the end. The 8-year-old Jacob Trembley was also outright amazing. Overall, not an easy movie to watch, but the more it makes you think.
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When I was small, I only knew small things. But now I'm five, I know everything! About two main characters and two big twists. Nevertheless (or precisely because of it, thanks to having sufficient space) this is about everything important in life. For some, Room will be full of pathos; for others, it will be an exaggerated depression. However, for those especially empathetic, it is a perfectly balanced spectacle that moves and chills them beyond their own abilities.
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I didn't have much faith in this film, but it was a very pleasant surprise. A dense, emotional and unflinching drama with an original idea, excellent acting performances, especially Jacob Tremblay, he’s the future Leonardo Dicaprio, just check out his promising future prospects. The first hour is great, especially in the unpredictable unraveling of the mystery, the second is less engaging, yet the psychological aspect can sway the viewer decently. Very good. 80%.
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As in her book, Emma Donoghue thoroughly sticks to Jack’s perspective. Whatever he doesn’t see and hear, we don’t see and hear. In addition to perceiving all of reality through the boy's eyes, we also hear his off-screen commentary, which, though it helps us to understand what makes the unalluring room magical for him, also betrays the book-based origin of the story. ___ The film does not try to shock us with explicit details of the characters’ suffering. By leaving a lot to the imagination, it puts us in a situation similar to that in which Jack finds himself. Unlike Jack, however, we quickly find out that Nick, for example, is not a kind uncle, but a heartless monster. Besides the limited breadth of our knowledge, which at first is comforting and later disturbing, the intertwining of the camera’s perspective with that of a five-year-old boy is manifested by shooting from the level of Jack’s eyes (we usually see the adults from below). Thanks to that, some of the characters and objects seem more terrifying or more mysterious than they actually are and the sudden “change of scale” in the second half of the film, when the camera level rises for the first time, is as stunning and liberating for us as it is for Jack. ___ The room itself, which seemed like an endless magical kingdom thanks to the editing, music and lively camerawork, becomes just an ordinary room. The second half of the story also has far more dramatic potential and emotional intensity than the first half, which in retrospect comes across as a stiff, needlessly long and perhaps gratuitously cruel prelude. Suddenly there are many more directions that the narrative could have taken. Despite expectations, however, the new sources of tension and conflict do not originate in the crime-thriller genre, but in psychological (melo)drama. ___ However, prioritising emotional conflict over external action is sufficiently justified by the continuous drawing of our attention to the bond between mother and son, or rather the ability to adapt our emotional ties to the environment in which we live. Together with Jack and Joy, we gradually realise that the world that they have created for themselves was not bound to a particular place. They carry it within themselves and are unable to leave it. The question of whether they can handle living outside of their room, or allowing someone else into it, thus becomes crucial.___ Whereas on a basic level Room suggestively evokes, with the aid of the smallest physical details, the situation of a person in captivity, we can approach it on another level as a (Platonic) parable about the (virtual) worlds in which we enclose ourselves. ___ Some viewers may be bothered by the fact that Abrahamson does not handle the sensitive subject matter with the cold-bloodedness of, for example, Michael Haneke and does not completely avoid emotional manipulation. On the other hand, he doesn’t make the situation excessively easy for his characters or offer easy solutions to their traumas. The subtly nuanced acting of Jacob Tremblay and Brie Larson significantly contributes to the ambivalent feelings, which ordinary tear-jerkers try to avoid. It is also to their credit that Room works best (and offers the greatest viewing satisfaction) as a maternal melodrama about the fine line between love and hate. 80%
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