Every Friday, our film critic Grace Kinsey will review a new release at the cinema. This week, she gives her verdict on The Darkest Universe.

Garth Davis's Lion is a family drama set against the background of extraordinary circumstances.

It tells the true story of Saroo Brierley, who was born into poverty in India, and who at the age of five was tragically separated from his family, never to see them again.

As a child wandering the streets of Calcutta, he encountered many strangers with malicious intent, on several occasions only narrowly escaping child-trafficking.

One day his luck changes as he is adopted by a loving couple who live in Tasmania.

He leads a comfortable life with them and truly becomes part of their family, but the memory of his biological mother and siblings preys on his mind.

Lion's screenplay by Luke Davis makes for affecting viewing from early on: to find yourself on a seemingly empty train, heading far away from your family, is a child's worst nightmare and Sunny Pawar as a young Saroo is impressive in his portrayal of the simultaneously distressed and brave boy.

When Saroo is settled in his new Australian home, what we see is also extremely emotive.

Saroo has a tender and mutually loving relationship with his mother, who is played sensitively by Nicole Kidman, and the enduring strength of their bond is touching.

A moment where Saroo comforts a crying Mrs Brierley brings a tear to the eye.

The costume, make-up and hair department must be mentioned when it comes to the topic of Saroo's Australian parents.

Real-life footage shown at the end of the film demonstrates how successfully they have managed to capture the likeness of the adoptive family.

This is surely important in a cinematic adaptation of a memoir.

However, despite the importance of Mr and Mrs Brierley in Saroo's upbringing, I could not help but feel that in focusing so much on Saroo's family life in Australia, Lion does not quite do the extraordinary nature of Saroo's story justice.

Because the audience's attention is consumed by the intricacies of the Brierleys' family life, we almost forget what Saroo went through to get there.

Even when Saroo finds his biological family and goes back to his hometown, the effect is underwhelming.

Saroo initially discovers the town on Google Earth, and is very moved, but naturally, upon his return there, his feelings are far stronger.

Sadly this does not translate onto the cinema screen.

Whereas Saroo sees his home on a screen and then in real life, the audience just sees his childhood home on screen again.

Such is the nature of cinema, you could argue, but I feel that the director could have placed more emphasis on the environment of India, which contrasts so starkly with that of Tasmania, and on space and boundaries to give the audience a stronger feeling of being there with Saroo as he finally satisfies his highly personal, life-long ambition.