A unit, unlike any other, who spent the childhood of their four children squatting in homes and living in poverty – second eldest Jeannette wrote her memoir in 2005, sharing the story of her unconventional childhood and her deeply dysfunctional parents with the world. Twelve years later it’s made it to the big screen, helmed by director Destin Daniel Cretton – whose directorial debut was the astonishingly wonderful Short Term 12 (2013). A total must-see if you’re yet to see it – the film which truly showed Brie Larson’s exceptional talent. The film takes the approach of intercutting Jeannette’s ‘now’ (the late 80s) with her childhood. These are told in most chronological order – in each flashback Jeannette is a little bit older and a lot wiser to how different her upbringing is – tend to be inspired by what is going on in her present day, and vary in length. Some are brief visits and some are extended stays. Each one exposes more layers of her relationship with her parents and the complicated nature of her childhood. From the first flashback her parents’ off-hand approach to parenting is made apparent, but it’s clear there’s a lot of joy present too. This fluctuates with each flashback, as does the audience response to Rex & Rose. Initially they seem quirky, fun and free-spirited but a shift begins to occur and revelations began to sour their ideal. The blend of past and present is skilful, rarely does one section fell overlong, but much of this is down to the power of the cast. The child actors, playing the four Walls siblings, are exceptional – Ella Anderson as young Jeannette and Sadie Sink as young oldest sibling Lori are both real ones to watch. Larson does well with what she’s given – a solid performance of haunted resilience. Watts may have less to do than Harrelson but she still adds so much heart to each scene. And Harrelson? His performance here may be his finest yet. The Glass Castle is in UK cinemas from 6th October.