The way human beings react to drastic and unexpected change
has been a source for storytelling since the Stone Age, and in the last few
years has served as a fine playground for director Jean-Marc Vallee. Vallee has
explored the way we react to illness in DALLAS BUYERS CLUB (2013), and divorce
in WILD (2014)…with both films becoming Oscar darlings. Vallee’s newest,
DEMOLITION, tackles the most drastic game-changer for human beings…the loss of
a loved one.
Davis (Jake Gylenhaal) is a bored-with-life investment
banker who loses his wife in a car accident. Despite pressure from his
father-in-law and boss Phil (Chris Cooper), Davis begins to unravel and takes
solace in sending letters to Karen (Naomi Watts), a vending-machine customer service rep whose
son Chris (Judah Lewis) is sexually confused, and proceeds to physically
demolish and take apart everything in his life.
The stages of grief are not the easiest things to express on
film, and often fall into clichéd territory with characters staring at
themselves in the mirror or standing at a gravestone during a torrential
downpour. Thankfully, DEMOLITION is a film which avoids all that and instead,
nearly to a fault, hangs its mourning hat on metaphor. Early in the film, Davis
is advised by Phil that in order to understand something, it needs to be taken
apart…and Davis takes this advice literally and proceeds to disassemble everything
in sight; his computer, fridge, restroom stalls…and eventually takes a
sledgehammer and smashes everything in his house. It’s a heavy-handed metaphor
which for the most part works.
But for a story that is supposed to be all human, DEMOLITION
has a huge disconnect with the audience. With Davis being a very rich banker
living in what most working-folk would consider to be a small mansion, it’s
difficult to feel sorry for him once the (ahem, clichéd) paths of I’m-rich-and-miserable
begin to reveal. The film doesn’t build up towards much and there’s no huge
moment for Davis, and even by the end of the story it’s not quite clear if he
advanced at all. A lot of big ideas are thrown around in DEMOLITION as
characters endlessly talk about life and death and what it means to actually
feel, but most of these are merely said and never fully explored or have any
sort of pay-off at the end.
As he has always done, Jean-Marc Vallee pulls some great
performances out of his cast. Jake Gyllenhaal’s character is a bit of an oddball
who only has to act weird and do odd things after the accident, and it’s hard
to believe that any other actor but he could have pulled this off. Chris Cooper
is excellent as the grieving father, and does the best work and gets the only
real weighty stuff to work with. Naomi Watts is as pretty and charming as ever,
but doesn’t seem to have much chemistry with Gyllenhaal. Young Judah Lewis, who
as a sexually confused 15 year old, turns in a very good performance despite
the character adding even more oddness to the whole film.
Davis’ character suffers from a lot of numbness throughout
the film (before and after the accident), and with the story centered on him,
the overall film experience feels numb as well. There’s an awful lot of dryness
to it, and for a film that wants to be one long therapy lesson, one has to work
very hard to find any answers. DEMOLITION is a film anchored by great
performances and the occasional thought-provoking idea, but ends up as a film
which turned left when it should have turned right.
BOTTOM LINE: Rent it
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