Remember Brendan Fraser, star of “The Mummy” and “George of Jungle”?

You might be forgiven for not recalling the name as Fraser, for reasons largely unknown dropped off the acting “A-List”, continuing to work but on DTV fare and the odd cameo.

As most movie goers know, awards ceremonies especially the Oscars loves career redemptions, and so it went. Suddenly Fraser was back, with a best actor statuette neatly tucked under his arm.

Was it deserved recognition against stiff competition from Austin Butler in Elvis, debatable but history now.

Very morbidly obese “Charlie” (Fraser) is a English teacher working remotely, assisting students via video link with their writing. He never appears on video as his camera is “broken”.

Whilst audiences hopefully never judge people by their size, the focus of the movie revolves around Charlie and how impossibly large he is, unable to walk without a frame and needing a hoist apparatus to shower.

Charlie is resolutely housebound, he has a nurse friend who attends unofficially to his medical needs and has the pizza delivery guy on speed dial. Previously married with a daughter, he ultimately chose a different path with a relationship with a man who recently passed away, leaving Charlie emotionally bereft.

His carer “Liz” (Hong Chau) admonishes him at every turn, Charlie does nothing to help himself, arguably he has lost the will to live yet has not fully grasped that concept himself.

Into his life falls an unlikely naive evangelist “Thomas” (Ty Simpkins) who makes house calls to try to convert those with many years more life experience, believing he knows the true path to happiness and contentment.

Charlie’s belligerent daughter “Ellie” (Sadie Sink) also makes an appearance, apparently to line up an inheritance, then sulk and make Charlie’s life even worse. Charlie has a blind spot, only able to see good in his daughter, from her perceived good intentions to her limited yet absurdly inflated literary talents.

The film is based on the stage play by Samuel D. Hunter and in no way betrays those origins, there is one set and the audience does not leave Charlie’s apartment.

There is no question Fraser’s performance is excellent, spending the entire movie hidden within extensive prosthetics and “fat suit”. Is this exploitive, are we the audience gawping because of his characters obesity, should we feel pity, sympathy, disgust, it’s difficult to say.

In today’s “cancel” culture, is a normal size actor allowed to play such a part, it’s complicated.

Charlie’s back story slowly unfolds, explaining more about Charlie’s circumstance and why he has ended up in the situation we find him.

There is no great revelation, just a steady mental and physical deterioration. At times a difficult, ultimately unrewarding watch, leaving audiences uncomfortable and unsure how to feel, which maybe is the director’s (Darren Aronofsky) & playwright’s original intention.

Summary

An acting master-class with Fraser acting mainly with his eyes and portraying a man, we are conflicted as to how to react, judge or sympathise with.

A tough watch, not a date movie or one likely to lift your spirits but undoubtedly well acted and brings Fraser back from the wilderness into mainstream movies.