TIFF: Jake Gyllenhaal’s ‘Demolition’ man has all the feels and is a dance machine

11 Sep 2015 | Author: | No comments yet »

‘Demolition’ review: It’s the quirky bastard child of ‘Silver Linings’ and ‘Garden State’.

Jake Gyllenhaal came out swinging sledgehammers — literally and emotionally — on Thursday night with the world premiere of his new movie Demolition at the Toronto International Film Festival. The film by director Jean-Marc Vallée (Dallas Buyers Club) is heartbreaking and often humorous as Gyllenhaal’s character Davis Mitchell has trouble dealing with the death of his wife. Despite a decent lead performance (really, it takes something like Prince of Persia for Gyllenhaal to be bad), a mishmosh of tone and fundamentally idiotic premise make Jean-Marc Vallée’s latest a real chore to watch. Instead of reaching out to someone, he gets his thoughts out in a complaint letter directed to the company whose vending machine “ate” his peanut M&Ms, and Davis finds a confidante in a customer-service woman named Karen (Naomi Watts) who receives his snail mail. “This is about a guy who really doesn’t know what he feels or how he feels because he’s been mired and locked in convention for so long. What I loved about it is it’s a story that begins the movie in the conventional way and ends the movie through an unconventional journey, feeling however he’s supposed to feel and not how society’s told him to feel.

The industry veteran handles foreign sales for opening-night film Demolition, directed by Jean-Marc Vallee and starring Jake Gyllenhaal, and Paco Cabezas’ action-comedy Mr. That’s a bit uncomfortable, particularly as an actor, to try and figure out not what you’ve been told grief is supposed to be but just discovering as you go.” And his character REALLY likes to destroy household items — the movie title isn’t just a coincidence. If you took Silver Linings Playbook’s treatment of mental health issues and the cheeseball forced epiphanies fromGarden State, this is their quirky melodrama bastard child. Gyllenhaal explains how in one scene Davis and Karen’s son (Judah Lewis) go to down with the destruction on half of a house that Vallée had created during the New York shoot: “He built an entire half of a hous and then he gave me and Judah tools and we destroyed the house ourselves. He destroyed a couple things because he needed to after spending so much tome preparing it, and he probably looked forward to breaking some windows.” Gyllenhaal also was able to dance a little bit when Davis has a sort of breakthrough in the movie and it’s one of very moments of expression for the character.

This year, Kier, 41, is bringing new footage of prison drama Shot Caller and Chris Pine-starrer Comancheria to show to buyers, but, as he tells THR, he’s also focusing on allowing the Toronto Film Festival to be the showcase foreign buyers want it to be. It’s empowering and I encourage people to really express themselves and bring back whatever they feel like has been taken away from them in their lives – in my case, really important things like fried chicken.” Does it seem strange that Demolition is opening the festival even though Fox Searchlight scheduled it outside of awards season, on April 8 in the U.S.?

When he ends up in danger in the film’s final act, it’s a cynical use of a talented performer. (Young Lewis isn’t to blame for this; I can’t wait to see this handsome, engaging kid in more and better films.) Sure, it’s amusing to watch these two act irreverently, racing grocery carts in a hardware store and whatnot. The fact that audiences are so good in Toronto gives buyers a much better gauge of what might work and what might not, compared to the very cinephile festivals. You soon get the sense that this whole enterprise is just waiting for Davis to have his emotional breakthrough, then come out the other side a better person. Toronto is a cinephile festival as well — it tends to have all the Oscar contenders — but it also has such a strong audience presence and it’s in a big major international city.

I think there’s been a lot written about the new platforms that are emerging and what that might mean, but that the end of the day, we at Sierra are a theatrically oriented company. If you’re going to finance a film in our world, you have to be respectful that different countries have different tastes, different preferences, different moviegoing habits.

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