Demolition with Jake Gyllenhaal – Is His Hair Good Enough?

Today I saw a new clip from Demolition – one of these films with Jake Gyllenhaal we are all waiting for and yet, worrying that it will turn out to be something like Southpaw – the film I’m trying to forget about even though I never saw it. It might be the case that there is a correlation between Jake Gyllenhaal’s hair and the quality of movies he’s in. But before we get to it, here is the clip from Demolition:

It’s cute and nihilistic and it has this cool editing where people seem to be talking for long periods of time (because the scene jumps into the next one without the topic being changed). I don’t know if it’s happening in the present or in the past or in the future even, but whatever it is – it does work cooly.

Overall, Demolition looks good. I saw a trailer. The only concern I had was lack of clear direction towards which the film was going. But maybe, I thought, maybe some films don’t need a plot. I know a lot of good ones that don’t follow the traditional story patterns and instead, focus on the character’s development. And since, Demolition talks about grief and loss, maybe this is exactly what the director intended – to reveal the whole story, so we go to the cinema only to learn about its character.

I trust Jake Gyllenhaal or should I say, in Jake Gyllenhaal I trust. As an actor, he never disappoints, no matter how small of a task he gets and rarely does he get a small task.

However, there is one thing I noticed and it’s not necessarily always true, but in 80% of cases it seems to be – his hairstyle tends to determine the quality of the movie he starrs in. And not to panic – his hair is short in Demolition. Southpaw short.

Of course, rarely does Jake Gyllenhaal have verybad hair, however, sometimes his hair is perfect-hall and special, other times it’s only pretending to be long. It’s longish or long on the top, but on the side…it doesn’t promise a good movie.

Whenever his hair is fresh-shave-hair and lacking personality, the edginess of the Hall, it seems the film tends to suffer, too. For example, Love and Other Drugs the total rubbish has Jake Gyllenhaal looking like a Calvin Klein model:
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the sides are messed-up. Too short. Rotten Tomatoes rating? 49%

With Rendition, another film which scored only 47%, Jake Gyllenhaal is Nick Carter. It’s bad. It’s really bad
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And then, there’s Accidental Love. Still can’t believe this film came out last year.

This hair though, it never gave it a chance:
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it’s a strong 7% hair.

So, I worry. I worry that Demolition will be a bad film, but I’m not going to be guided by American critics and am patiently waiting for the UK release, later this month. For now, let’s enjoy the clips while they’re lacking context.

The Club – The Club of the Broken

It’s almost impossible to watch The Club today without referring back to Spotlight – a film, which everyone loved, but nobody expected to win the very main Academy Award this year. Both films discuss a difficult and disturbing topic of sexual harrassment in the walls of Catholic Church – in Spotlight, these walls are constantly moved whils in the Club the walls are thicker than what they hold inside.

Pablo Larrain is the director of one of the most motivating films I watched – NO. If you haven’t seen it, I recommend you do immediately, however, watching the Club straight afterwards might be a surprising experience. The Club has little to do with NO, but Larrain’s sensibility to make unheard voices loud is in both of them.

In the words of distributor:

Four men live together in a secluded house in a small, seaside town. Each of them has been sent to this place to purge sins from the past. They live according to a strict regime under the watchful eye of a female caretaker when the fragile stability of their routine is disrupted by the arrival of a fifth man, a newly-disgraced companion bringing with him the past they thought they had left behind.

So, as you can imagine the film is dark. It’s beautifully dark. The pace is really slow, but it allows us to give our full attention to incredible directorial choices Larrain made when filming the surrounding. The time seems to always be dusking or dawning, the world always covered in fog. The images speak more than the words in the Club, although words, when spoken, are painful and disturbing.
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Although, it was Spotlight which I cried through hearing the stories of the vitims, here the descriptions are much more direct. They seem almost vulgar when put against the raw, innocent environment it is filmed in. The nature, the cottage house, the sea.

What I loved about the Club is that it remains ambiguous all the way through. By introducing two characters to the cult-like cottage house structure, Larrain puts its viewers in an uncomfortable chair: the priests are obviouslt guilty of certain crimes and yet, we hope they will find themselves rather than get the punishment worse than they’re already subjected to. It is also the way they are being punished by the sins from the past – by life in isolation, which in reality seems more like letting them hide themselves rather than face the facts.

And some of them are homosexuals who didn’t commit any crimes. We want them to be loved.

But I didn’t like the Club as much as I liked NO and not because it was painful and complex, or slower than NO. Somehow, it left me cold and maybe a little bored. Maybe I wish Larrain made a statement of a sort.
★★★★★★

THE CLUB directed by Pablo Larraín is in UK cinemas 25 March with a Special Preview Screening and Panel Discussion at Curzon Soho on Monday 21st March 6.20pm #TheClubFilm

The Club was

Nominated for Best Foreign Language Film, The Golden Globes 2015

Winner of Silver Bear – Grand Jury Prize,

Berlin International Film Festival 2015

and is coming out next week.

theclubfilm.co.uk

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