Synopsis
Life: Some disassembly required.
An emotionally desperate investment banker finds hope through a woman he meets in Chicago.
2015 Directed by Jean-Marc Vallée
An emotionally desperate investment banker finds hope through a woman he meets in Chicago.
Jake Gyllenhaal Naomi Watts Chris Cooper Judah Lewis C.J. Wilson Polly Draper Malachy Cleary Debra Monk Heather Lind Wass Stevens Blaire Brooks Ben Cole Brendan Dooling Madison Arnold James Colby Alfredo Narciso Gregory Haney James Young Bjorn Dupaty Jane Dashow Tom Kemp Royce Johnson Hani Avital Celia Au Elizabeth Loyacano Stephen Badalamenti Mark Lewis Aaron Bantum Lytle Harper Show All…
John Malkovich Sidney Kimmel Ellen H. Schwartz Molly Smith Jason Reitman Lianne Halfon Russell Smith Thad Luckinbill Jean-Marc Vallée Helen Estabrook Nathan Ross Trent Luckinbill Carla Hacken Jon Schumacher
爱情上半场, Demolición, Разрушение, Razrushenie, 데몰리션
i *know* that art gets worse than DEMOLITION, but as i sat on my flight today and tried to make sense of what i just watched, i couldn't imagine how.
fuck this movie straight to hell.
beyond being terrible in every conceivable way, it's also bad in one pivotal respect of which i hadn't previously been able to conceive! everybody grieves in their own way (or *not really grieves,* as the case may be, here), but NOBODY, ever, in all of recorded time, has ever grieved (or *not really grieved,* as the case may be, here) like Jake G's character does in this movie. none of these people are human, they're inadvertent parodies of bad Fox Searchlight-era film types, and…
I'm the kind of guy who buries everything deep down. If someone close to me died, you wouldn't know it unless I told you. If I got fired or failed a class, my general demeanor wouldn't change enough to be noticeable. I internalize everything, burying it deep down inside and doing my best to ignore until eventually, it just goes away or the world solves the problem for me. It's a quietly destructive system of dealing with hardships, but from my experience I think I would prefer it to the alternate, more vocal and public approach. People often deem this method unhealthy, something I vehemently disagree with. I'm a put together individual, relatively mature and pretty steadfast in my fundamental…
me: hey maybe... do u think... we should watch something other than a jake gyllenhaal movie today?
my brain: JAKE JAKE JAKE JAKE JAKE JAKE JAKE JAKE JAKE JAKE JAKE JAKE JAKE JAKE JAKE JAKE JAKE JAKE JAKE JAKE JAKE JAKE JAKE JAKE JAKE JAKE JAKE JAKE JAKE JAKE JAKE JAKE JAKE JAKE JAKE JAKE JAKE JAKE JAKE JAKE JAKE JAKE JAKE JAKE JAKE JAKE JAKE JAKE JAKE JAKE JAKE JAKE JAKE JAKE JAKE JAKE JAKE JAKE JAKE JAKE JAKE JAKE JAKE JAKE JAKE JAKE JAKE JAKE JAKE JA
Saw it again and it hit me even harder.
Punch-Drunk Love directed by Terrence Malick.
So much of this film plays out like a Terrence Malick film.
Old Malick. Like a "Days of Heaven" prime Malick. More narrative-driven Malick. Yet also very new-Malick as well.
The use of voiceover over the choppy, sporadic imagery. Like a broken fairy tale or dream. A bunch of pieces falling downwards, hoping they can stay intact once they hit rock bottom.
Its story is weak, you say?
Isn't life like that? Don't you have days where you feel out of place? Like you were randomly placed here? Like nothing seems to be falling in the right place, or order? That's what "Demolition" conveys so…
I honestly loved Demolition.
And I honestly have no idea why.
I know why I liked it, but I have no idea why I loved it.
It's so much better than 95% of the mainstream bullshit we get now.
This is an extremely personal film about finding yourself.
Jake Gyllenhaal gives one of the best performances of 2016 so far.
This movie is special. It went in ways I didn't expect.
It's not cliché or forcibly heartfelt, it's a simple film, but complex at the same time.
The way this film gets into Gyllenhaal's character and in his head is spectacular.
You know what's he thinking, but the insanity and oddness flowing through his brain is so unpredictable.
That kid…
Zuerst emotional irritierend. Dann irgendwie lähmend. Und am Ende musste ich sehr viele Tränen wegwischen. Inszenatorisch (für mich) zum Teil faszinierend oder hervorragend konstruiert und gestaltet. Inhaltlich gehen einige erzählerische Konstrukte (für mich) nicht so ganz auf. Hier und da fühlen sich Szenen oder Sätze einfach zu wenig nach echtem Leben und zu sehr nach notwendigem, erzählerischem Bauteil an, damit Davis und Film ihr Dekonstruktionsprinzip ausspielen können. Im Zuge dessen werden gewisse Themen, Bilder oder eben Metaphern dann auch etwas zu oft wiederholt, so dass sich in der Mitte des Films bei mir ein gewisses Desinteresse eingestellt hat. Aber wie der Film sein letztes Drittel entwickelt, vor allem geprägt durch Watts, Cooper und dann auch Gyllenhaal, das hat mich schon…
Der Liebes Dekonstruktion
Die Liebe, wie in Davis Mitchell (Jake Gyllenhaal) Fall als der unser eigene gerade erlebte oder längst vergangene, ergibt die durch das Fernrohr oder durch das Zielfernrohr gerichtete Sicht wie eine „verklärte“ Weltanschauung rosarot ausgepolstert und gedämpft. Ein Blick durch die zu Fernrohren verkrümmten Hände: zwei warme, fleischige Höhlen wie der Geburtskanal und darin entspringend das Leben.
Eingeengt wie der um einen errichteten Zwinger aus Gittern der brüchigen und unter der Oberfläche aufplatzenden Ehe, einer Partnerschaft, einem Verlassen seines Selbst wie das Abgeben des eigenen Ichs wie die offene Umarmung einer immer für einen offenstehenden Haustüre der Geborgenheit eines hingehaltenen Ohrs, einer Teilnahme am Leid des Anderen wie die sich überkreuzten Linien auf einer Karte, erlebt Davis…
Sometimes grief doesn't look like grief. And that's okay.
Just give Jake a fucking Oscar already. Preferably the one he deserved for Nightcrawler. But any one will do.
i want jake gyllenhaal to be my cool impulsive dad but i also want him to pound me into the centre of the earth so i. am. conflicted.