BrendanFraser's sensitive performance is the chief highlight of DarrenAronofsky's limp drama The Whale.
In Darren Aronofsky’s The Whale, mounds upon mounds of prosthetics transform Brendan Fraser into a character many times his real size. That’s the hook of the movie, and its headline, and also its early controversy.
The Whale offers therapy-couch explanations for what Charlie has slowly been doing to his body over the years. It’s a symptom of grief that became a spiral of shame, and has gradually manifested in an apparent death wish. The film wheels out carts and carts of tragic backstory: an anguished grapple with sexuality, a lover lost to suicide, an abandoned family, an evangelical organization that played its damaging, judgmental part.
Among the ensemble of coming and going house guests is Charlie’s longtime friend, Liz , a nurse who checks up on him regularly, lecturing him about his health while also acquiescing to his pleas for unhealthy food. Hong is so tough and vulnerable and authentic in the role, it’s a shame she’s playing a character who can’t stop spilling her guts via torturously overwritten monologues.
Not that Fraser ever seems to be begging for pity. Grabbing maybe his meatiest role ever, no pun intended, the one-time A-list heartthrob of The Mummy and George of the Jungle wrestles mightily with the limitations of the overheated material. For all the suffering the film pours on his character, the star refuses to play Charlie as a morose sob story. He brings a hint of suppressed mirth, and a light sensitivity that clashes productively with the heaviness of the material.
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