Rating: B
Demolition directed by Jean-Marc Vallee tells the story of investment banker Davis Mitchell (Jake Gyllenhaal), who tragically loses his wife in a car accident, and follows the essential grieving process that follows. What starts as a complaint letter to a vending machine company turns into a series of letters revealing intimate information about himself. These catch the attention of customer service rep, Karen (Naomi Watts) who has emotional and financial burdens of her own. Through unfortunate circumstances, the two form an unlikely connection. With the help of Karen and her son Chris (Judah Lewis), Davis goes on a journey of self-discovery and rebuilding of the life he once knew.
Gyllenhaal’s performance of the sarcastic, emotionally disconnected and OCD American is satisfying to watch, even if it is a little hollow and unmotivated at times. Although this is a staple of avant-garde/indie festival type films, it’s still strange to watch Gyllenhaal romp around New York City with headphones on having a moment like that of Les Grossman at the end of Tropic Thunder. I thoroughly enjoyed the mechanic of the letters. They are like a form of catharsis for Davis as he tries to navigate life after his wife’s death, as well as reflecting on their time together.
His relationship with Karen never really leaves the ground in terms of depth, only offering up a few comedic scenes to do with narcotics. The real gem that comes from this relationship, however, is Karen’s son Chris. The typical angst-filled teenager act is somewhat revitalised in the indie tone of the film. The character isn’t a two-dimensional representation of a teen with a much larger inner turmoil that is the staple of all big budget Hollywood films nowadays. Many of the film’s best scenes are between Chris and Davis, especially those that include tools and a certain challenge Davis sets for the teen.
Demolition delivers somewhat interesting characters despite some hollow motivations and random outbursts of grieving methods.