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Causeway (2022)

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The first production from Lawrence's newest, shiniest company, Excellent Cadaver, was I imagine, always going to be a deeply personal choice, if for no other reason, she would want to show her peers and the rest of the industry what type of entertainment mogul she aspires to be.

So, as expected really, she is literally putting her money where her mouth is financially and artistically too, given that she was so taken with the story of a returning veteran from Afghanistan, she decided to take the leading role. A smart decision, given that she is the draw, after all, and by crikey, this had better work. We could argue that she has merely just broadened her range of roles she can get in one very, very selfish fell swoop, without the need for an audition.

Only she has never seemed so ruthless. Oh no, not our lovely Jen. Certainly not.


This may not be the role you might normally expect to find Lawrence cast in, if others had their way, but she throws herself into this with suitable gusto and enthusiasm, as if screaming, again, to the world that she is more than just a pretty face. It's demanding in many ways, both emotionally and physically and that's before you consider the gravitas to be convincing.


Causeway is a largely non-event, where little of note really happens, but the focus remains firmly on the two main performances, dealing with their own tragedies and loneliness as they spark up a friendship that is as puzzling as it warm and fragile. I mean really, who would have reasonably put these two characters together, so firmly worlds apart, from just up the road from one another. And it works, thanks to the performances, the character arcs and the skill of the pacing and delivery.


This may not be up for many Oscars, but it is a frightening marker that this new company is pinning on itself for all to see. If this is the way of things to come for Lawrence, then the future looks bright.



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