4.0 out of 5 star rating<\/span> <\/span> <\/div> <\/div> Director Darren Aronofsky once more goes down his favoured the<\/span>matic rabbit hole with the<\/span> idea of pushing the<\/span> human body to its absolute limits and the<\/span> psychological strains on the<\/span> soul in doing so. In The<\/span> Fountain it was metaphysical, in Requiem for a Dream it was drug-related and in both The Wrestler<\/span> and Black Swan it was purely physical.<\/p>\nThe Whale <\/span>continues that haunting premise with binge-eating Charlie (Brendan<\/span> Fraser<\/span>), a morbidly obese, 600-pound gay recluse who is literally punishing his body for the<\/span> suicidal death of his lover from anorexia. Based on Simon D Hunter\u2019s acclaimed semi-autobiographical play (premiered off-Broadway in 2012), it is easily Aronofsky\u2019s most eloquent, powerful and sincere examination of last-chance redemption within a vivid portrait of the<\/span> inability to escape the<\/span> sadness of one\u2019s own existence.<\/p>\nIn a run-down apartment in rural Idaho, teacher Charlie is giving online writing lessons over Zoom with his webcam turned off \u2013 he says it\u2019s broken \u2013 so his pupils can\u2019t see him in person.<\/p>\n
On one hand, he\u2019s offering remote advice while actually trying to desperately reconnect with his estranged daughter (superb Sadie Sink from Stranger Things) by ghostwriting her English essay homework. He\u2019s even blackmailing her into grudging visits with promises of inheritance money. But her bitchy viciousness is a hurdle proving hard to dodge even though the<\/span> two exploring the<\/span> boundaries of mutual trust are among the<\/span> most wildly funny and moving scenes.<\/p> It\u2019s within this narrow universe that Charlie\u2019s deceased boyfriend\u2019s sister (wonderful Hong Chau) is nagging him to seek medical attention before eating himself to death, a confused New Life missionary (wide-eyed Ty Simpkins) sees him as a doorstep convert challenge, his hurt ex-wife (Samantha Morton in uber fierce mode) wants relationship answers, and a virtually unseen pizza delivery man checks up on the<\/span> welfare of his best customer through the<\/span> letterbox.<\/p>\nTrading on everyone\u2019s shared experiences with limited pandemic connection and keeping his stage-to-screen adaptation simplicity itself, Aronofsky deliberately reins in his often flamboyant style, underlining the<\/span> the<\/span>atrical origins of the<\/span> intense chamber piece by using the<\/span> claustrophobic Academy ratio to make this penetrating look at self-destruction through abject grief a lesson in how people are incapable of not caring.<\/p>\nWith every one of the<\/span> stellar supporting cast making an indelible impact, The Whale<\/span>\u00a0isn\u2019t just a one-man show. Neverthe<\/span>less, it\u2019s Brendan<\/span> Fraser<\/span> who dominates the<\/span> confined setting with a self-deprecating, barnstorming performance as the<\/span> lovable man mountain in constant mourning. In a flawlessly CGI-augmented prosthe<\/span>tic suit, underrated comeback kid Fraser <\/span>trades on his past goofy charms to great effect.<\/p>\n