Director: Jean-Marc Vallée
Writers: Bryan Sipe (screenplay)
Stars: Jake Gyllenhaal, Naomi Watts, Chris Cooper, Judah Lewis
Synopsis: As an investment banker struggles after losing his wife in a tragic car crash, his increasingly confessional series of letters to a vending machine company catch the attention of a customer service rep with whom he forms an unlikely connection.
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Demolition is arguably one of the most frustrating films of 2016, so far. On paper, this was ripe with opportunity to offer something about the grieving process and how one learns to cope through unexpected relationships. And with Jake Gyllenhaal in the starring role, who has been on fire lately, this should have been great, right? From director Jean Marc Vallée (Dallas Buyers Club, Wild), Demolition starts off strong but eventually meanders into an uneven mess that stifles all emotional potency the film was attempting to achieve.
The film opens with Davis (Gyllenhaal) and his wife Julia driving in their car when they are involved in a deadly crash, in which Julia is killed. In the hospital, Davis tries to buy some candy from a vending machine but the candy gets stuck, which provokes Davis to write a complaint letter to the vending machine company. This letter, however, contains more than a complaint. Davis writes about his wife, his frustrations and the fact that he’s struggling to heal. Where Davis is unable to communicate his feelings by talking to people, these letters work as a catharsis for him. After a few letters, Karen, who works for the vending machine company, calls Davis to see if he needs someone to talk to. This leads to the two of them establishing an unexpected relationship that could bring healing to the both them.
Now, more times than not, subtlety is more effective than obvious and tacky symbolism. However, subtlety isn’t necessarily called for here. The metaphors depicted in Demolition are very apparent but sometimes our lives collide with metaphor and symbolism more vigorously. The death of a spouse certainly qualifies as one of those times, especially as it relates to coping, making the obviousness of the metaphor actually kind of alluring. If you ask me, there’s actual pathos built into the idea, especially since Davis is aware he is living this metaphor. There’s something therapeutic about embracing this kind of transparency that helps Davis learn to heal. At one point, Davis tells Chris (Judah Lewis), the son of Karen who he befriends, that he is looking to tear apart his marriage as the two demolish everything in Davis’ house. Davis fully understands what he’s doing and as crazy as it is, there is genuine lostness on display and Davis truly wants to find closure. Sometimes, the obvious metaphor is what you need and Demolition does have something to offer about why participating in that symbolism matters.
The problem, however, is rooted in a narrative that finds itself sadly disjointed and too distracted with it’s own meanderings. The relationship between Davis and Chris is very charismatic and the Davis and Karen relationship is endearing initially, but ultimately the inclusion of Chris and Karen do distract from the film’s main objective. The establishment of these relationships undercut Davis’ struggle to cope, and as a result, the final product is choked of all poignancy.
The Davis and Karen relationship especially detours into crass territory that make both characters unsympathetic at one point, which is the antithesis of what the film built up previously with Davis’ emotionally distant letters. The letters were a fascinating coping mechanism and it was easy to see why Karen would be concerned, but by the third act, that momentum is completely lost and their relationship feels rather shallow and myopic. Furthermore, that dynamic adds awkward tension that isn’t earned between Davis and Phil (Chris Coopers is great here), Davis’ father-in-law. Because Davis and Karen lose their sympathy cards, the moments between Davis and Phil mostly feel empty and coarse, which is disappointing because their relationship started out rather intriguing, like the rest of the film.
By now you can see why this was a frustrating experience. There is a lot to appreciate about this film and it had massive potential, but like Dallas Buyer Club, Vallée wasn’t exactly sure where to take the film and it shows. Where the film seduces with Davis’ letters, it completely disengages with his forced relationship with Karen, which smother’s the film’s pivotal themes. Davis’ journey into the metaphor is fascinating in parts and his relationship with Chris is authentically beautiful, but it comes at the cost of narrative disjointedness. The ending of the film should have packed a bigger punch, but unfortunately Demolition doesn’t quite cope as well as it’s protagonist does.
The soundtrack is a treat though. Go download that asap.
Overall Grade: B-
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