--- title: "Room" year: 2015 kind: "film" canonical: "https://film.one/film/room" fi1m_id: "room" imdb_id: "tt3170832" tmdb_id: 264644 wikidata_id: "Q18703032" fi1m_score: 84 critics_score: 84 critics_reviews: 23 published: "2026-09-15" updated: "2026-09-18T08:38:34.079008+00:00" region: "US" licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL." --- # Room (2015) Directed by Lenny Abrahamson · 1h 58m · MPA R · Drama, Thriller ## Identity Room - **Canonical:** https://film.one/film/room - **Type:** Film - **Fi1m ID:** room - **IMDb ID:** tt3170832 - **TMDB ID:** 264644 - **Wikidata ID:** Q18703032 - **Same entity:** https://www.imdb.com/title/tt3170832/, https://www.themoviedb.org/movie/264644, https://www.wikidata.org/wiki/Q18703032 **Fi1m score: 84** · Critics 84 from 23 reviews *In a sentence:* Brie Larson looks as though she needs permission to stop being brave > Brie Larson and Jacob Tremblay make *Room* a painful, absorbing drama about the work of protecting a child. Lenny Abrahamson trusts their relationship enough to avoid sensationalism, though the score sometimes presses harder than it needs to. ## Synopsis Ma (Brie Larson) and her young son Jack (Jacob Tremblay) are held captive in a small shed. Their days revolve around one another, with Ma trying to give her child a world he can understand while living with knowledge he does not share. Jack sees their surroundings through the stories and explanations she gives him, finding familiarity where an adult sees confinement. Told from the child’s perspective, the drama follows a mother trying to protect her son under circumstances she cannot control. Sean Bridgers plays Old Nick; Joan Allen, Tom McCamus and William H. Macy also appear. ## Review Lenny Abrahamson’s *Room* approaches a story of captivity through the daily demands of looking after a child. Ma, played by Brie Larson, has to help her son Jack make sense of the small shed in which they are held, while bearing what he cannot yet understand. It is a painful, absorbing film, and the relationship between Larson and Jacob Tremblay is good enough to carry it through the occasional push towards sentimentality. Abrahamson keeps our attention on what these two need from each other. Emma Donoghue adapts her own novel, and following Jack’s understanding gives the material much of its force. His imagination helps him live within limits whose cruelty he cannot grasp, while Ma has to carry the adult knowledge of their situation. The writing asks us to pay attention to the gap between what a parent explains and what a child understands. That could become precious, but Tremblay makes Jack’s curiosity and dependence convincing enough that we accept the restricted viewpoint without feeling we are being given a lesson. Larson makes Ma loving without requiring her to seem endlessly capable. Her attention to Jack has a visible cost, and the performance allows tiredness and fear to coexist with the wish to reassure him. We were moved by the effort those reassurances require. Tremblay helps by making Jack’s trust feel ordinary to the child himself, rather than something presented for our admiration. Their exchanges have the unevenness of a parent trying to explain and a child taking from the explanation only what he can use. Danny Cohen’s cinematography keeps close to the pair, giving us time to study the difference between Jack’s trust and Ma’s strain. Ethan Tobman’s production design makes the small shed convincing as a place that has acquired familiarity through being lived in. It remains oppressive, but the film allows us to understand how Jack can regard it as home. Cohen and Tobman make the child’s attachment to his surroundings credible without asking us to find the confinement anything other than appalling. Nathan Nugent’s editing keeps the mother and son central when the film draws on the urgency of a survival thriller. We can follow the emotional exchanges without losing the pressure of their circumstances, which is a difficult balance to maintain in such a restricted setting. The weakness is the occasional eagerness to tell us how much a moment means. Stephen Rennicks’s music sometimes pushes too insistently, underlining emotion that Larson and Tremblay have made clear already. The script’s occasional eagerness to reassure us is a related weakness, and some of Donoghue’s writing feels tidier than the distress the actors convey. Those passages are less convincing, but they do not undo the accuracy of the mother-son relationship. By the standards of a captivity thriller, Abrahamson’s sustained attention to the work of parenting is unusual, and it gives the film value beyond the suspense. Allow for the emphatic music, and give it an evening when nobody needs you to be cheerful afterwards. *Fi1m score 84, published 15 September 2026.* ## What the critics say Most critics respond warmly to Room, finding a moving account of maternal love that handles its harrowing premise without sensationalism. Praise centres on Brie Larson and Jacob Tremblay: their believable mother-son bond gives the drama its emotional force, with Larson’s layered performance and Tremblay’s imagination and resilience repeatedly singled out. The reviews also credit Lenny Abrahamson’s attention to the child’s perspective and his inventive use of the confined setting with making the material bearable without softening its horror. Reservations concern how fully the adaptation delivers beyond those performances. Some otherwise enthusiastic reviews note technical shortcomings, script problems or touches of sentimentality, while the broader spread runs from wholehearted praise to qualified disappointment. The Telegraph finds the film less powerful than the novel, despite its leads. The Wrap offers a sharper dissent, arguing that the tidy, polite storytelling reduces the impact even as the performances remain persuasive. ## Straight answers **Is Room worth watching?** *Room* is worth watching for anyone prepared for a painful, absorbing drama about a mother protecting her child in captivity, and we scored it 84. Brie Larson and Jacob Tremblay carry it, and Lenny Abrahamson avoids sensationalism. Allow for a score that presses harder than it needs to, and save it for an evening when nobody needs cheering up. **How long is Room, and what is it rated?** *Room* runs 1h 58m and is rated R by the MPA in the US. It is a drama and thriller film. **Where can I watch Room in the US?** *Room* is streaming on HBO Max, The Roku Channel and Amazon Prime Video in the US, and it is also available to rent from Amazon Prime Video and Apple TV from $2.99. Availability is checked daily; the links above go straight to each service. **How violent or frightening is Room, and is it suitable for children?** *Room* is a 15 certificate in the UK and R-rated in the US, and it is not for children: it concerns a woman and her young son held captive in a shed. The film avoids sensationalism and keeps its attention on the pair rather than on cruelty, but the situation itself is appalling and the strain is sustained. Older teenagers should manage it. **How does Room compare to Leave No Trace?** *Room* and [*Leave No Trace*](https://film.one/film/leave-no-trace) both give patient attention to a parent and child whose closeness brings difficulties, but *Room* is the tenser of the two, drawing on the pressure of a captivity thriller. Debra Granik's film is quieter and lingers longer over small exchanges. Choose *Room* if you want urgency, *Leave No Trace* if you want stillness. **Is Room based on a true story or a book?** *Room* is based on Emma Donoghue's novel of the same name, which Donoghue adapted for the screen herself, and it is not presented as a true story. The film keeps the book's choice of telling events through the child Jack's understanding, which gives it much of its force. You do not need to have read the novel first. **What should I watch after Room?** After *Room*, try [*Leave No Trace*](https://film.one/film/leave-no-trace) (2018, Fi1m 88): The same patient attention to a parent and child whose closeness brings difficulties. Then [*The Quiet Girl*](https://film.one/film/the-quiet-girl) (2022, Fi1m 84): A child’s limited understanding makes small acts of care matter enormously; and [*Nobody Knows*](https://film.one/film/nobody-knows) (2004, Fi1m 87): Children build daily routines around adult failure in this patient, troubling drama. ### Reviews we read (27) - **RogerEbert.com**, Susan Wloszczyna (4/4): The film is a soul-searing celebration of the bond between a parent and child under unbearable circumstances. It excels through the believable connection between Brie Larson and Jacob Tremblay as Ma and Jack. [Read](https://www.rogerebert.com/reviews/room-2015) - **The Guardian**, Peter Bradshaw (5/5): The film is a heartbreaking yet life-affirming parable of parenthood and maternal love, brilliantly directed and superbly acted by Brie Larson and Jacob Tremblay. [Read](https://www.theguardian.com/film/2016/jan/17/room-review-lenny-abrahamson-brie-larson-jacob-tremblay) - **The Times**, Kevin Maher (90/100, inferred): The film is powerfully affecting with remarkable performances from Larson and Tremblay; it is an emotional epic about parenting that yanks at the heartstrings. [Read](https://www.thetimes.com/culture/tv-radio/article/the-big-film-room-kl90ph72t) - **Vulture** (90/100, inferred): The film transmutes a lurid true-crime premise into an astonishing fairy tale of survival through maternal love and imagination. Abrahamson and the lead actors create a powerful seesaw of love and horror, with exceptional performances from Larson and Tremblay. [Read](https://www.vulture.com/2015/10/movie-review-room.html) - **Empire**, Olly Richards (85/100, inferred): The review calls Room a wrenching but ultimately uplifting watch that finds warmth and hope in a harrowing premise. It singles out Jacob Tremblay's extraordinary child performance and Abrahamson's skillful direction for making the confined setting cinematic and emotionally resonant. [Read](https://www.empireonline.com/movies/reviews/room-review/) - **Evening Standard**, Charlotte O'Sullivan (80/100, inferred): The critic praises the film as brutally raw and moving, with Brie Larson delivering a standout performance as the resilient mother Joy. The direction by Lenny Abrahamson is noted for grounding the story effectively despite its conventional feel compared to his earlier work. [Read](https://www.standard.co.uk/culture/film/room-film-review-out-of-the-darkness-into-the-light-a-mother-and-son-dream-of-life-beyond-the-shed-a3157406.html) - **Little White Lies**, David Jenkins (3/4/5): The critic finds the film a moving, life-affirming drama focused on motherhood and love rather than retribution. It singles out the stunning performances by Brie Larson and Jacob Tremblay as the standout element. [Read](https://lwlies.com/reviews/room) - **Radio Times**, Andrew Collins (4/5): The critic describes an ultimately uplifting experience realized with care and restraint from the child's innocent viewpoint. It highlights the director's tactile, close-up empathy in handling the story of captivity and escape. [Read](https://www.radiotimes.com/movie-guide/b-jtjvpv/room/) - **Screen Daily** (80/100, inferred): The review calls it a nuanced, minor-key portrait of trauma that is deeply moving in its examination of how adults explain the world to children. It singles out Brie Larson's tremendous performance as the mother who must be strong until she cannot. [Read](https://www.screendaily.com/reviews/room-review/5093104.article) - **The New York Times**, Manohla Dargis (80/100, inferred): The story centers on a mother and son held captive in a tiny shed, with the child's perspective providing purity and buoyancy. Jack's resilience and imagination make the film bearable and emotionally resonant. [Read](https://www.nytimes.com/2015/10/16/movies/review-room-mother-and-child-in-100-square-feet.html) - **Time Out**, David Ehrlich (4/5): The review praises the powerful, sensitive survival drama and its exploration of the worlds parents create with their children. It singles out Brie Larson's raw, harrowing performance for particular acclaim while noting some directorial shortcomings in technique. [Read](https://www.timeout.com/movies/room) - **Total Film**, Neil Smith (80/100, inferred): The critic describes the film as a moving, harrowing and redemptive drama about the ties between mother and child. It highlights the performances of Brie Larson and especially Jacob Tremblay, along with the director's inventive approach to the confined setting. [Read](https://www.gamesradar.com/room-review/) - **Variety**, Justin Chang (80/100, inferred): The adaptation retains emotional impact as it shifts from survival thriller to a drama of loss and reawakening, thanks to strong performances especially from Brie Larson. It offers a powerful metaphor for captivity and gradual emergence into the world. [Read](https://variety.com/2015/film/festivals/telluride-film-review-brie-larson-in-room-1201584736/) - **The Telegraph**, Robbie Collin (3/5): Despite strong performances from the leads, the adaptation never fully achieves lift-off and feels less powerful than the source novel. [Read](https://www.telegraph.co.uk/films/2016/04/14/room-review-less-powerful-than-the-book/) - **IndieWire**: Brie Larson delivers a revelation in the lead role alongside stunning newcomer Jacob Tremblay. The film is a strong festival entry centered on the mother-son dynamic in captivity. [Read](https://www.indiewire.com/criticism/culture/telluride-review-brie-larson-is-a-revelation-alongside-stunning-newcomer-jacob-tremblay-in-room-58523/) - **Slant Magazine**, Elise Nakhnikian: The film is a tough but tender tribute to the creative power of maternal love, never sensational or saccharine. It excels through the intimate mother-son chemistry and performances by Larson and Tremblay, focusing on resilience and care amid horror. [Read](https://www.slantmagazine.com/film/room-2015/) - **The Hollywood Reporter**, Todd McCarthy: The adaptation is involving and moderately heartwarming but does not reach the higher levels of psychological insight and emotional profundity to which it aspires. Strong performances by Larson and Tremblay provide art-house draw, though the claustrophobic material may deter many viewers. [Read](https://www.hollywoodreporter.com/news/general-news/room-telluride-review-820547/) - **Den of Geek**, David Crow (5/5): The critic calls Room a hopeful, touching and profoundly moving film that avoids salacious impulses, instead offering a unique perspective through the young son's eyes on the mother-son bond and escape from captivity. It singles out the visual composition of the room and the standout performances by Brie Larson and especially Jacob Tremblay for praise. [Read](https://www.denofgeek.com/movies/room-review/) - **Eye for Film**, Owen Van Spall (5/5): Abrahamson fashions the source material into a visually inventive, genuinely moving and understated drama of captivity and hope that pays tribute to creative maternal impulses. The superb lead performances from Larson and Tremblay create a credible and touching relationship amid the grim circumstances. [Read](https://www.eyeforfilm.co.uk/review/room-2015-film-review-by-owen-van-spall) - **HeyUGuys**, Stefan Pape (5/5): The film delivers an accessible yet profound and uplifting experience despite its grim premise, thanks to its focus on the young boy's perspective. Abrahamson keeps the tone understated and naturalistic while highlighting the performances and the story's emotional depth beyond the escape sequence. [Read](https://www.heyuguys.com/room-review/) - **Digital Spy**, Emma Dibdin (90/100, inferred): The review describes the film as a miraculous adaptation that turns a harrowing premise into a cathartic fable of hope and resilience seen through the child's sheltered perspective. It praises the nuanced mother-son bond, human details, and the lead performances by Brie Larson and Jacob Tremblay as breathtaking. [Read](https://www.digitalspy.com/movies/a780223/room-review-brie-larson-leads-the-best-actress-race-in-a-moving-adaptation/) - **The Playlist**, The Playlist Staff (A-): The film is a deeply moving and suspenseful drama that emotionally devastates while centering a mother-son love story and the challenges of reintegration. The transformative performances by Larson and Tremblay are astonishing and revelatory, though the script has minor hiccups and the ending is slightly treacly. [Read](https://theplaylist.net/review-lenny-abrahamsons-deeply-moving-and-emotionally-devastating-room-starring-brie-larson-20151014/) - **Consequence** (85/100, inferred): Room is a truly beautiful work on the bonds between mother and child and the human capacity to transcend dire circumstances. Abrahamson keeps the focus on the child's perspective, delivering emotional rewards through strong lead performances without lapsing into the maudlin. [Read](https://consequence.net/2015/10/film-review-room/) - **The Skinny**, Jamie Dunn (★★★★): The critic deems Room a beautiful and humane response to inhumanity that cannily adopts the five-year-old son's point of view to reveal wonder in confinement before shifting to themes of resilience and the outside world. It singles out the great child performance by Jacob Tremblay and Brie Larson's layered acting for praise while noting a minor flaw in the score. [Read](https://www.theskinny.co.uk/film/new-releases/room-lenny-abrahamson) - **Collider**, Matt Goldberg (B-): The critic finds the film good but frustrating as it flirts with greatness without consistently hitting its emotional mark beyond the two leads' performances, which are astounding. Praises the lead performances for providing the film's emotional core. [Read](https://collider.com/room-movie-review-brie-larson/) - **The Wrap**, Inkoo Kang (55/100, inferred): The critic finds the film's tidy, polite narrative flawed and diminished in potency, preventing it from fully resonating. The sensitive portrayal of the characters' transition is elevated by the brilliant, tour-de-force performances of Brie Larson and Jacob Tremblay. [Read](https://www.thewrap.com/room-review-brie-larson-jacob-tremblay-joan-allen/) - **Paste**, Nick Schager (8.3): A potentially sensational premise is handled with grace and incisiveness in this adaptation. The film maintains a firm grasp on the characters' turmoil and the selflessness of devotion, with standout nuanced performances from the two leads. [Read](https://www.pastemagazine.com/movies/room) ## Details - **Director:** Lenny Abrahamson - **Director:** Lenny Abrahamson - **Screenplay:** Emma Donoghue - **Novel:** Emma Donoghue - **Cinematography:** Danny Cohen - **Editor:** Nathan Nugent - **Music:** Stephen Rennicks - **Production design:** Ethan Tobman - **Costume design:** Lea Carlson - **Producer:** Ed Guiney, David Gross - **Cast:** Brie Larson as Ma; Jacob Tremblay as Jack; Joan Allen as Nancy; Sean Bridgers as Old Nick; Tom McCamus as Leo; William H. Macy as Robert; Cas Anvar as Dr. Mittal; Amanda Brugel as Officer Parker - **Runtime:** 1h 58m - **Certificate (MPA):** R - **Release (the US):** 6 November 2015 - **Genres:** Drama, Thriller - **Also in:** [Best Picture winners](https://film.one/collections/oscar-best-picture.md) (Nominee, 2015); [Golden Globe Best Drama winners](https://film.one/collections/golden-globe-drama.md) (Nominee, 2015) - **Budget:** $13 million - **Box office:** $35 million - **Trailer:** https://www.youtube.com/watch?v=yfBdUPAjiVQ ## Where to watch in the US - HBO Max: streaming, uhd - The Roku Channel: add-on, hd - Amazon Prime Video: add-on, uhd - Amazon Prime Video: rent $2.99, sd - Apple TV: rent $3.99, hd - Apple TV: buy $12.99, sd - Amazon Prime Video: buy $12.99, sd *Checked 2026-09-15.* Also available in: AR, AT, AU, BE, BR, CA, CH, CL, CO, CZ, DE, DK, EC, ES, FI, FR, GB, IE, IN, IT, JP, MX, NL, NO, NZ, PA, PE, PL, SE, TR, US. Add `?region=XX` to this URL for another country. ## Awards - Academy Awards 2016: Best Director (nominated); Best Picture (nominated); Best Writing, Adapted Screenplay (nominated); Best Actress (won) - European Film Award for Best Film 2016: European Film Award for Best Film (nominated) - European Film Award for Best Screenwriter 2016: European Film Award for Best Screenwriter (nominated) - IFFR audience award 2016: IFFR audience award (nominated) ## If you liked this - *Leave No Trace* (2018), Fi1m 88: The same patient attention to a parent and child whose closeness brings difficulties. — [Fi1m page](https://film.one/film/leave-no-trace.md) - *The Quiet Girl* (2022), Fi1m 84: A child’s limited understanding makes small acts of care matter enormously. — [Fi1m page](https://film.one/film/the-quiet-girl.md) - *Nobody Knows* (2004), Fi1m 87: Children build daily routines around adult failure in this patient, troubling drama. — [Fi1m page](https://film.one/film/nobody-knows.md) - *The Spirit of the Beehive* (1973), Fi1m 87: A child’s imagination helps her approach adult fears she cannot yet understand. — [Fi1m page](https://film.one/film/the-spirit-of-the-beehive.md) - *A Separation* (2011), Fi1m 93: For another drama where family responsibilities make every apparently simple decision difficult. — [Fi1m page](https://film.one/film/a-separation.md) --- © Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/room