Jasper Rees

Heaven knows they’re miserable now

Vikander emotes earnestly; Fassbender gives good nose-crying; the soundtrack is a long series of heartbreak emojis

issue 05 November 2016

The Light Between Oceans is one of those films that comes issued with a handy how-to-use manual. Shudder as hero arrives on remote Australian island to man lighthouse. Cheer when in swift dash to mainland he secures hot bride to join him. Grimace when her womb proves incapable of holding anything in for a whole nine months. Bring heart to mouth as baby is somewhat implausibly washed ashore in rowing boat. For rest of film, carry on weeping.

The source material is the 2012 novel by M.L. Stedman, which has sold millions in loads of languages. It features a Hardy-esque plot of flatpack sadism in which punishment is administered even-handedly to a trio of protagonists. Such plots — see also The Bridges of Madison County — have a habit of attracting major players for no doubt estimable reasons while also totally giving them an Oscar shot. Here the sizzling leads are Michael Fassbender and Alicia Vikander, with best supporting miserablism from Rachel Weisz.

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