![]() ![]() The first 20 minutes play like a montage of his adult life and marriage. It’s fast, sharp, and riddled with brilliantly carried exposition. The dialogue, in particular, reminds me a lot of Aaron Sorkin. The first act of Demolitionis actually really strong. © 2016 Twentieth Century Fox Film Corporation All Rights Reserved All the while, he must deal with his Father-in-law and boss Phil Eastwood ( Chris Cooper) as he attempts to understand Davis’ behavior. He begins to form a close bond with her son Chris ( Judah Lewis). ![]() Eventually, his life becomes intertwined with Karen’s. Nothing, from his computer to the bathroom stalls in his office to his house, is safe. He begins to dismantle things – everything. As the story progresses, Davis deals with his grief in an untraditional way. This strikes up an interesting relationship with the customer service representative of the company, Karen ( Naomi Watts). This causes him to write a letter to the company that makes the vending machines to complain. Immediately following the death of his wife, Davis goes to a vending machine in the hospital to get a snack. I wish I could be as positive about the film. He proves yet again that he is one of the best actors working today. However, the intensity and complexity of his performance stand. In retrospect, this is actually a step back from his last few roles, which have been in genre films. This time, he plays Davis, an investment banker who deals with the fallout of his wife Heather’s ( Heather Lind) death. Following career best performances in Enemy, Nightcrawler, and Prisoners, Gyllenhaal returns with yet another fantastic performance in Jean-Marc Vallee’s Demolition. I think it’s safe to call this the “emotionally disturbed” era of Jake Gyllenhaal’s career. Demolition is an uneven, at best, arthouse film on grief that is all but saved by a strong Jake Gyllenhaal performance. ![]()
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