This is a Darren Aronofsky flick, so you know what you’re getting into. That is, if you’re familiar with the recurring theme of his oeuvre: addiction as a slow suicide.

For ‘Requiem for a Dream’, heroin was the narcotic of choice. In ‘The Wrestler’ and ‘Black Swan’, it was the artists’ obsession with their performance and persona. Likewise in The Whale, Charlie, a reclusive English teacher, (Brendan Fraser) is in the death throes of his addiction, only this time food is the drug. It’s not a cinematically romantic addiction, let’s say. Physical entrapment is a daily reality for him and Aronofsky’s voyeuristic filmmaking adds a nigh unbearable discomfort to these scenes.

But unlike the protagonists of Aronofsky’s other films, there’s a sweetness to Charlie that grants a bit of life to the film’s bleak atmosphere. The morbidly obese make-up is indeed impressive but Fraser’s alert, bright eyes are ‘The Whale’s best visual effect.

As it’s a film based on a play, the movie’s small in scope, and is limited entirely to Charlie’s apartment.  The plot is mostly propelled by a small cast of colourful characters paying Charlie a visit. Their conversations – and confrontations – are enthralling and paint vivid portraits of love and regret.

However, the standout has to be Sadie Sink as Charlie’s troubled teenage daughter, Ellie. Smart and deeply hurt from her strained relationship with her father, her frankly demonic demeanour is a compelling counterpoint to Charlie’s optimism. His struggle to repair their relationship is the main source of tension here and the actors’ back-and-forth is by turns wonderful and dreadful to behold.

Yet there’s something that holds ‘The Whale’ back, too. Aronofsky’s strengths – mixing myth and naturalism so effortlessly – do not feel as well-balanced here. It’s ‘stage’y and heavy-handed in places. And it can be a hurdle to get over that wall and be fully absorbed by its way-too-loud-about-it poignant ending. Still, Fraser is an absolute marvel.

3.5 Stars out of 5