Jake Gyllenhaal

Stream of the Week: ZODIAC

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Robert Downey, Jr. and Jake Gyllenhaal in ZODIAC

In the 60s, 70s and 80s, we in Northern California suffered more than our share of serial killers, to the point that I couldn’t even remember the Golden State Killer, recently snagged by a much ballyhooed foray into ancestry DNA. But the list topper has to be the Zodiac Killer, a random thrill killer who used the news media to taunt the police and terrify the Bay Area.

Officially, this case has never been solved.  But there’s a pretty convincing theory about the killer’s identity advanced in David Fincher’s 2007 Zodiac.

Fincher spins his story through the separate obsessions of three Zodiac-hunters.  There’s the dogged homicide detective (Mark Ruffalo) and the renegade newspaper reporter (Robert Downey, Jr.).  Then there’s the oddball, a newspaper cartoonist (Jake Gyllenhaal);  unlike the other two, it’s not his job to track down the killer.  He’s a puzzle hobbyist who takes on the killer’s cryptogram and then plunges down the rabbit holes of matching handwriting and the availability of various suspects.

Ruffalo, Gyllenhaal and Downey are all superb.  And John Carroll Lynch takes the creep-o-meter off the scale as the prime suspect.

The supporting cast is brilliant and unusually deep, including Chloe Sevigne, Elias Koteas, Clea DuVall, Donal Logue, Philip Baker Hall, James Le Gros and an unrecognizable Candy Clark.  Brian Cox nails the bluster and wit of that prototypical celebrity attorney, Melvin Belli.

John Carroll Lynch in ZODIAC

Fincher, of course, is the master of the serial killer movie.  Before Zodiac, he made what is probably still the most thrilling serial killer movie, Se7en.   He followed Zodiac with the top-notch  The Girl with the Dragon Tattoo and Gone Girl.  In Zodiac, Fincher builds the tension, occasionally giving the audience relief with some laughs, especially when Gyllenhaal’s amateur sleuth finds himself in a situation that he thinks is much more dangerous than it really is.

The film is also a dead-on time capsule of the 70s in the San Francisco Bay Area, from the opening shot, a drive through a Vallejo neighborhood on the 4th of July.  The fashions and the music of the period are perfect, especially the Donovan and Santana songs.  This was before law enforcement had DNA to work with – and, in the case of two of the investigating police departments, even a newfangled fax machine.  As the 70s approach the 80s, we even see an early Pong video game.  One thing that I did not personally remember from the era, but have verified really did exist, is the Aqua Velva cocktail.

This is a wonderfully entertaining movie.  Zodiac can be streamed from Amazon (included with Prime), iTunes, Vudu, YouTube and Google Play.

NOCTURNAL ANIMALS: melodrama, squirming and then, finally, Michael Shannon

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Michael Shannon, the only reason to see NOCTURNAL ANIMALS
Michael Shannon, the only reason to see NOCTURNAL ANIMALS

In the would-be-thriller-but-really-squirmer Nocturnal Animals, Amy Adams plays a young woman who becomes infatuated with the romance of being with a starving artist, the sensitive Edward (Jake Gyllenhaal). After the romance wears off, she dumps him for a higher testosterone model, the striving businessman Hutton (Armie Hammer). Twenty years later, she has become a successful art dealer with all the trappings of an affluent life, buy plunges into a midlife crisis. At this moment, Edward finally gets a novel published and sends her an advance copy. Shocked to see that it is dedicated to her, she starts reading it and becomes engrosses, which is exactly what Edward has intended.

Nocturnal Animals is the braiding of three plot threads: the story of the doomed romance between the young Susan and Edward, Susan’s current melodrama with Hutton and a reenactment of the plot of Edward’s novel. The novel’s story takes up most of the screen time. It’s a garden variety, but particularly grim, revenge story, with a man (also played by Gyllenhaal) whose family is high jacked in desolate West Texas by a crew of sadistic lowlifes with the very worst intentions. If you’ve ever seen a crime movie, you know what is going to happen to the guy’s wife and daughter. After an excruciatingly long menace-and-dread segment, Gyllenhaal escapes and stumbles into the potential for revenge, guided by the local detective (Michael Shannon).

If you’ve survived the squirming caused by the unremittingly and gratuitously uncomfortable kidnapping sequence, you’re in for a treat with Michael Shannon’s performance, which is really the only reason to see Nocturnal Animals. Shannon doesn’t make any unnecessary movements, which focuses us his piercing and unblinking eyes, which make clear that he is a particularly dangerous man. And, we learn, even more dangerous because he is a man without anything to lose.

Actually, though, Laura Linney is also superb as Susan’s mom, unrecognizable underneath a formidable Dina Merill bouffant. Linney actually gets the one sure thing LOL laugh line in the movie. Aaron Taylor-Johnson is also devastatingly despicable as the most sadistic and loathsome of the thugs. Adams, Gyllenhaal and Hammer are all fine, too.

This is the second movie from director Tom Ford, the fashion designer; it’s nothing at all like the his A Single Man, with its exploration of loneliness, grief and identity repression. Ford’s background in fashion probably informs some jokiness in Susan’s world of overly precious art dealers and silly avant garde “art”. But other than that, there really isn’t any humor to leaven the unpleasantness of the Gyllenhaal story.

The reason that Susan’s dumping of Edward is supposed to be so scarring is overblown, and I’m finding it has become an all too easy screenwriting device. (We’ve come a long way since Alfie in 1966.)

I should note that I think that I do GET this movie, with its layers of revenge and its comments on art. I just don’t think that the payoff is there. Nocturnal Animals will make for a solid $3.99 video rental so you can fast forward until you see Michael Shannon on the screen.

Amy Adams in NOCTURNAL ANIMALS
Amy Adams in NOCTURNAL ANIMALS

DEMOLITION: a most entertaining nervous breakdown

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DEMOLITION
DEMOLITION

I was thoroughly entertained during Demolition, but I’m very ambivalent about just why that was.

Jake Gyllenhaal plays a corporate striver who suddenly loses his wife in a car accident and then, well, he loses it. He has what we used to call a Nervous Breakdown (I don’t what the current euphemism is), and it’s a doozy. His behavior becomes strange and then bizarre – and we can’t keep our eyes off him.

And that’s what causes my ambivalence. In real life, nervous breakdowns aren’t very entertaining. The folks who suffer may pull the covers up over their heads, lapse into sobbing or catatonia or panic attacks – it’s just not fun to watch. But Gyllenhaal gets to do a goofy dance through crowded Manhattan streets, demolish stuff without committing vandalism, and it’s all great fun.

Demolition poses the question of whether this guy was a wackadoodle all along whose marital routine was keeping him functional –  or whether he really loved his wife and the sheer grief from her loss knocked him for a loop. We find out at the end, but it’s really not that important.

Our hero encounters a woman who’s a bit of an oddball (Naomi Watts) and her kid, a smart and creative boy who is heading into adolescence with a major identity issue.

Chris Cooper and Polly Draper are superb as Gyllenhaal’s grieving in-laws. Cooper is also Gyllenhaal’s boss and brilliantly modulates his responses as he tries to be appropriately sympathetic and supportive – until Gyllenhall’s behavior becomes just too bizarre and offensive. Draper has a smaller role, but gets to deliver a stunning monologue near the end. Judah Davis is exceptional as the kid.

If you look at Gyllenhaal’s body of work (Donnie Darko, The Good Girl, Brokeback Mountain, Zodiac, End of Watch, Prisoners, Nightcrawler), you first note that he’s in some very good movies, movies that are that good because of his performances. And you see that his characters range from the tightly wound to the maladjusted to the way-out-there cra-cra. If you need an actor from the post-Nicholas Cage generation to play “tortured”, Jake’s your guy.

Gyllenhaal is so charismatic that Demolition is entertaining (unless you overthink it, as I did).

Stream of the Week: NIGHTCRAWLER – Gyllenhaal finally plays 100% psycho

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Jake Gyllenhaal in NIGHTCRAWLER
Jake Gyllenhaal in NIGHTCRAWLER

The all-around outstanding actor Jake Gyllenhaal excels at playing guys who are just a little too obsessive (Zodiac, Prisoners, Enemy) to let you get comfortable with them.  In the thriller Nightcrawler, Gyllenhaal gets to play a 100% psycho.  His character is seriously twisted, but in that high functioning way so the other characters don’t suspect it until IT’S TOO LATE.

Gyllenhaal’s bug eyes come in handy in playing the ever-too-intense Lou Bloom, a hustler who talks like a super-caffeinated sales guy, full of the argot of self-help and inspirational speakers.  His bromides about success seem mainstream, but his hyper affect puts off regular folks.  He’s thieving copper when he sees an opportunity to turn himself into a free-lance video journalist.  Nightcrawler is an acid commentary on the TV news world, and Lou has finally found an arena where being balanced is not an asset.

In fact, a cynical TV producer (Rene Russo) finds Lou’s intrusiveness and utter disregard for social boundaries to be helpful.  When placing her order with Lou, she can be entirely unfiltered: “What we re looking for is a woman running down the street with her throat cut”, preferably a “White well-off victim”.

Riz Ahmed, so compelling as The Reluctant Fundamentalist
is unrecognizable here as Lou’s tweaked and shifty homeless assistant Rick.  It’s an effective transformation, and it’s equally great not to see Ahmed stuck playing a terrorist again.

Nightcrawler is successful both as a biting satire and as a charter-driven thriller.  You can stream Nightcrawler from Amazon Instant Video, iTunes and Vudu and rent it on DirecTV PPV.

DVD/Stream of the Week: Source Code

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Source Code1Source Code is a gripping thriller, and I admired both its intelligence and its heart. The key is a breakthrough screenplay by Ben Ripley. The scifi premise is that supersoldier Jake Gyllenhaal can inhabit the brain of a terrorism victim for the same 8 minutes – over and over again. Each time, he has 8 minutes to seek more clues. Can he build the clues into a solution and prevent the terrorist atrocity? Gyllenhaal is excellent. So is Vera Farmiga as his handler and Michelle Monaghan as a girl you could fall in love with in 8 minutes. Jeffrey Wright chews the scenery with his homage to Peter Sellers in Dr. Strangelove. Director Duncan Jones solidly brings Ripley’s screenplay home.

It’s on my list of Best Movies of 2011. Source Code is available on DVDD from Netflix and streaming from Amazon, iTunes, Vudu and Xbox Video.

Enemy: Gyllenhaal plus Gyllenhaal equals…

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enemy
In the psychological thriller Enemy, a guy finds out that he has an exact physical double – down to their voices and the scars on their bellies. He can’t resist looking up and meeting his twin, which unleashes some unanticipated consequences.

One guy is a tweedy college professor, kind and introspective. His doppelganger is an actor who doesn’t filter his own venal self-interest. Essentially, the difference between these two  is that one guy has a conscience and the other guy doesn’t.  They are both played by Jake Gyllenhaal.

The physical similarities even confound their partners (Sarah Gadon and Melanie Laurent).   Gadon’s performance is especially compelling in a scene when she first meets an amiable guy who doesn’t know her, but physically seems to be her husband.  Yeesh.

The key to Enemy’s surpassing the gimmick of double casting is that Gyllenhaal’s performance is so brilliant.  The difference between the two characters is so subtle.
You always know which guy you’re watching, but, other than wardrobe, it’s often hard to figure out how we can tell – it’s just in Gyllenhaal’s carriage, the occasional gesture and the hint of rapaciousness in the one character’s eyes.

Enemy is not completely literal and realistic.  Be prepared for some large and startling creatures that you will not expect.

Director Denis Villenueve knows how to deliver suspense and thrills, as he did in my top movie of 2011, Incendies, and in last year’s underrated thriller Prisoners, (also with Gyllenhaal).  Enemy isn’t as good as those films, but it’s an entertaining and mildly thought-provoking thriller.

DVD/Stream of the Week: Prisoners

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In the pulsating thriller Prisoners, two girls go missing, and one of their dads (Hugh Jackman) goes vigilante as the lead detective (Jake Gyllenhaal) struggles to solve the case. Both men are driven and desperate, and they clash as they each race against the clock to find the girls, resulting in unrelenting tension for 2-and-a-half hours.

The tension comes from standard suspense devices (characters peering into basements and entering boarded-up rooms and dark hallways, prowlers slipping though a sleeping household, etc.), but there isn’t a hokey moment in Prisoners. That’s a tribute to director Denis Villenueve, who directed Incendies (my top movie of 2011). Plus, an intricately plotted story from Aaron Guzikowski adds a dimension to Prisoners and elevates it from a conventional thriller. As Gyllenhaal’s cop proceeds through the whodunit, he encounters what we assume are dead-end leads and red herrings. But everything – and I mean EVERYTHING – ties together at the end. I sure didn’t see it coming.

The one aspect of Prisoners that didn’t work for me is that Jackman is dialed up all the way from the get go, and there’s little if any modulation in his performance. I guess that may be the point of the character – he’s a tightly wound guy BEFORE his daughter appears to be abducted – and then he goes full-out maniac for over two hours.

Gyllenhaal is solid in the other lead role. Terrence Howard is superb as the other dad, a guy who wants his daughter back just as much, but is more passive, rational and empathetic (and consequently more interesting to me). Viola Davis, Maria Bello and Melissa Leo turn in their expected fine performances. And Paul Dano (perhaps his generation’s Christopher Walken or James Spader) is excellent in another of his weirdo roles.

Prisoners is available on DVD from Netflix and Redbox and streaming from Amazon, iTunes, Vudu, YouTube, Google Play and Xbox video.

Prisoners: intricately plotted and unrelentingly tense

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In the pulsating thriller Prisoners, two girls go missing, and one of their dads (Hugh Jackman) goes vigilante as the lead detective (Jake Gyllenhaal) struggles to solve the case.  Both men are driven and desperate, and they clash as they each race against the clock to find the girls, resulting in unrelenting tension for 2-and-a-half hours.

The tension comes from standard suspense devices (characters peering into basements and entering boarded-up rooms and dark hallways, prowlers slipping though a sleeping household, etc.), but there isn’t a hokey moment in Prisoners.  That’s a tribute to director Denis Villenueve, who directed Incendies (my top movie of 2011).  Plus, an intricately plotted story from Aaron Guzikowski adds a dimension to Prisoners and elevates it from a conventional thriller.   As Gyllenhaal’s cop proceeds through the whodunit, he encounters what we assume are dead-end leads and red herrings.  But everything – and I mean EVERYTHING – ties together at the end.  I sure didn’t see it coming.

The one aspect of Prisoners that didn’t work for me is that Jackman is dialed up all the way from the get go, and there’s little if any modulation in his performance.  I guess that may be the point of the character – he’s a tightly wound guy BEFORE his daughter appears to be abducted – and then he goes full-out maniac for over two hours.

Gyllenhaal is solid in the other lead role.   Terrence Howard is superb as the other dad, a guy  who wants his daughter back just as much, but is more passive, rational and empathetic (and consequently more interesting to me).   Viola Davis, Maria Bello and Melissa Leo turn in their expected fine performances.  And Paul Dano (perhaps his generation’s Christopher Walken or James Spader) is excellent in another of his weirdo roles.

DVD of the Week: End of Watch

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End of Watch is a top notch thriller of a cop movie, and it made my list of Best Movies of 2012.   Two cops, played by Jake Gyllenhaal and Michael Peña, patrol a hell hole beat in South Central LA.  They are well-intentioned cops, but they are testosterone-fueled young guys. They are always looking for action, and this neighborhood has plenty of action.  They ultimately bite off more than they should try to chew.

Writer-director David Ayer (Training Day) has made a movie that rises above the genre because of the well-written main characters and their relationship.  We watch them chiefly from a camera on the dashboard of their squad car.  We learn that they are both decent guys and both adrenaline junkies, but one is more aspirational and one is more settled.  They are both funny, and the multiracial theater audience at my screening was howling at the ethnic ball-breaking.

There are also some impressive chases, often filmed with the dashboard camera facing forward.  It’s thrilling stuff.  There’s a lot of shaky cam (which I usually hate), but here it works well to enhance the chaos of the setting as well as the action.

The rest of the cast is excellent, most notably Natalie Martinez and Anna Kendrick (Up in the Air) as the love interests, David Harbour, America Ferrera and Frank Grillo as fellow cops, and Diamonique as a fierce gangbanger.

And here’s a shout out to Michael Peña.  In End of Watch, Peña nails both the humor and the action; he’s on-screen almost the whole movie and has an engaging presence.  He has played so many Latino cops, and he really deserves a chance to show what he can do with a different type of role.

End of Watch: thrilling cop drama rises above the genre

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End of Watch is a top notch thriller of a cop movie.  Two cops, played by Jake Gyllenhaal and Michael Peña, patrol a hell hole beat in South Central LA.  They are well-intentioned cops, but they are testosterone-fueled young guys. They are always looking for action, and this neighborhood has plenty of action.  They ultimately bite off more than they should try to chew.

Writer-director David Ayer (Training Day) has made a movie that rises above the genre because of the well-written main characters and their relationship.  We watch them chiefly from a camera on the dashboard of their squad car.  We learn that they are both decent guys and both adrenaline junkies, but one is more aspirational and one is more settled.  They are both funny, and the multiracial theater audience at my screening was howling at the ethnic ball-breaking.

There are also some impressive chases, often filmed with the dashboard camera facing forward.  It’s thrilling stuff.  There’s a lot of shaky cam (which I usually hate), but here it works well to enhance the chaos of the setting as well as the action.

The rest of the cast is excellent, most notably Natalie Martinez and Anna Kendrick (Up in the Air) as the love interests, David Harbour, America Ferrera and Frank Grillo as fellow cops, and Diamonique as a fierce gangbanger.

And here’s a shout out to Michael Peña.  In End of Watch, Peña nails both the humor and the action; he’s on-screen almost the whole movie and has an engaging presence.  He has played so many Latino cops, and he really deserves a chance to show what he can do with a different type of role.