In the first scene, Jake Gyllenhaal’s wife is killed in an accident and he spends the rest of the movie in a closed-off reaction. This leads him to dismantling objects, eventually destroying his house. Much of his turmoil is outlined in letters he writes to a vending machine company. This leads to a relationship with a mother (Naomi Watts) and her troubled son (Judah Lewis). So much of this narrative is in narration that it becomes an earnest exercise in self-indulgence. Gyllenhaal tears down a lot, but doesn’t tear up much (work out that pun). Chris Cooper (as the father-in-law) and the kid create the most moving characters. Director Jean-Marc Vallée has crafted an interesting film on an intellectual level. However, the slow, repetitive and somewhat predictable story, as well as the frustrating detachment undermine the film’s emotional resonance.
(2.5 / 5)