“Everything has become a metaphor,” Jake Gyllenhaal’s character Davis Mitchell says in voice-over during the first section of Demolition.

That line indicates just how subtle this movie is — i.e. about as subtle as the recurring image of a sledgehammer smashing into walls. 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.

The film’s central theme concerns a man too numb to feel emotions. I envied him, as by the end of Demolition I had grown furious at its asinine plot reveals and hokey music swells. 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. And it isn’t pretty. Read more…

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