Unflinching. Uncomfortable. Unapologetic. Heartbreaking. To call Precious a difficult film to watch sounds like an understatement that only Kanye could make.

Within the first five minutes director Lee Daniels uproots the audience and drops us into the nightmarish world of Clareece Precious Jones – the sixteen year old mother of two. Precious can barely read, despite having delivered a baby (and pregnant with another) she’s only been to the doctor once in her life and we watch the easily 300lb girl devour a ten-piece bucket of chicken for breakfast out of nothing but pure necessity. But these are the least of Precious’ problems.

Based on the novella Push by author Sapphire, Precious explores a rarely talked about existence where children are merely collateral used to collect Government assistance while being forced to raise themselves. We first meet Precious in a state of misery. She’s suffering abuse in every sense of the word: Physical, sexual, mental – if ever there is a way to mistreat another human being, Precious Jones is experiencing it. But the real question here is: To what end?

While GABOUREY SIDDIBE’S title role is excellent, the real star of this film is Precious’ lazy, acne-riddled, over-weight mother who’s evil and perversion is so heinous that just her mere presence on screen creates a tension within your chest. MO’NIQUE gives the performance of her life as Mary – A woman who should never be allowed to be anyone’s mother.

With solid supporting performances by PAULA PATTON, SHERRI SHEPARD and an under-used LENNY KRAVITZ, it’s Mo’s portrayal of Mary that presents both the films biggest gift…And it’s biggest problem.

After nearly 90 minutes of watching the worst of life through Precious’ eyes we finally arrive at one of two scenes where Mo’Nique lobby’s for an Oscar nomination (the first coming fairly soon into the film as Mary gives her thoughts on what a ‘real woman’ is). As a sickly and seemingly desperate Mary sits before her daughter as well as a make-up free (and completely vapid and un-engaging MARIAH CAREY), she explains the source of the searing hatred she has for her daughter. But this scene – while excellently written and superbly acted – is missing one thing: Why? Mary is clearly mentally ill. And while this isn’t truly her story, it would have been nice to see this issue at least acknowledged even if it wasn’t going to be addressed.

The movie’s only other flaw is this: After watching in horror for two hours, I’m still unclear of what the overall theme of the film is. We all know the realities of teen motherhood. We know by now the realities of not having a solid education. And anyone who’s ever experienced life anywhere near the poverty line, knows that the road ahead for Precious as she rides off into the sunset is probably quite dim, so what exactly is Daniels trying to say? Is this all an exercise in gratitude for even the most annoying occurrences in life? Is this his way of simply reaching out to the ‘Precious’ girls everywhere – letting them know that they’re not alone? Or is this an ending similar to the iconic last moments of The Sopranos – where their fates will forever be subject to debate?

Either way, it is impossible for me not to recommend this film. It is raw. Relentless. Heartbreaking. But it is also resilient – as are the millions of ‘Precious’ girls out there, living this life everyday. We finally see you, even if just for a moment.