Plot: Charlie (Joaquin Phoenix) and Eli Sisters (John C. Reilly) are hitmen and their newest task is to kill prospector Hermann Warm (Riz Ahmed) who stole from their employer The Commodore (Rutger Hauer). Tracking Warm is private investigator John Morris (Jake Gyllenhaal) who is supposed to hand Warm over to the Sisters brothers. But when Morris starts doubting Warm’s guilt, he teams up with him instead. Meanwhile the Sisters brothers are plagued by bad luck, Charlie’s drinking and Eli’s misgivings about their profession.
I’m not much of a Western fan (a few exceptions notwithstanding), but time and again I get roped into them. In this case, it was the cast that drew me. But the film still didn’t work for me – that’s a resounding meh from my part.
Plot: Joe (Ed Oxenbould) lives with his parents Jerry (Jake Gyllenhaal) and Jeanette (Carey Mulligan) in what could and should be the standard family of the 1950s. But when Jerry loses his job, things start to fall apart. He finally decides to leave town to find employment, effectively leaving Jeanette and Joe as well. Now Joe has to watch his mother trying to cope with the situation by flirting which puts him in a very difficult situation.
I’m afraid that my expectations for Wildlife were a little too high. It’s not bad, but it just isn’t as great as the cast would suggest.
Mija (Seo-Hyun Ahn) lives with her grandfather Hee Bong (Hee-Bong Byun) and with Okja. Okja is a genetically modified breed of superpigs. To see how the animals fare, twelve of them have been placed in various situations worldwide to see what environment suits them best. It turns out that Okja is the winner. That means that they find themselves confronted with nature filmer Johnny Wilcox (Jake Gyllenhaal) who has been sent by the corporation Okja actually belongs to to publicize the result of the contest. But even though Wilcox is not the most charming individual, he quickly becomes the least of Mija’s problems as she has to fight for Okja and their life together.
Okja is sweet and it has a great cast. It has a political message that it puts front and center, but unfortunately that message is muddled at the best of times and incomprehensible at other times. When you make a film that so obviously has something to say, when that something remains that unclear, the entire experience is frustrating and nothing else.
Six astronauts/scientists on the International Space Station study samples that have just been successfully collected on Mars. They hope to find out more about the conditions on Mars, but what they find instead is actually life: a single cell organism that’s either dead or dormant – but it’s there. They can barely contain their excitement, especially when their attempts to revive the organism are actually successful. But they have never encountered a live form like this – and it quickly turns out that it’s more than they bargained for.
Life is a decent, albeit derivative film that works pretty well – at least if you don’t keep comparing it with the Alien franchise it is a little sibling of.
Art gallery owner Susan Morrow (Amy Adams) receives a package in the mail. It contains the draft of her ex-husband Edward Sheffield’s (Jake Gyllenhaal) new novel and the information that he is in town and would like to meet her. Susan hasn’t spoken to him in almost 20 years and she is surprised by the novel and the meeting, but she starts to read the novel that was apparently inspired by her. It tells the story of Tony Hastings (Jake Gyllenhaal) who goes on a roadtrip with his wife Laura (Isla Fisher) and daughter India (Ellie Bamber) – a roadtrip that turns violent when they get into trouble with another car and its passengers.
Nocturnal Animals is a highly polished film that tells a story that goes under the skin. It’s definitely not a film that lets go of you easily, even if not everything about it works without a hitch.
Davis (Jake Gyllenhaal) thought his life was pretty good, but after his wife Julia (Heather Lind) dies in a car accident, he finds that things weren’t all what they cracked up to be: he didn’t really know Julia, and he simply overlooked all the things that weren’t right. In his grief, he writes a letter of complaint to a company filling vending machines, detailing not only that his candy got stuck in the machine, but his entire situation. The customer service rep Karen (Naomi Watts) who reads his letter finds herself intrigued and together with her son Chris (Judah Lewis), they starts playing no small part in Davis’ attempt to first destroy, then rebuild his life.
When I saw the trailer for Demolition for the first time, I was very much reminded of this tweet (that I can’t find anymore) where somebody wrote something along the lines of “look, it’s my favorite genre: woman dies so man can learn something about himself.” It seemed the perfect description for this film. I decided to see it despite of this, mostly because Jake Gyllenhaal can do pretty much anything. Unfortunately there really isn’t much more to this film than what you can see in the trailer.
Plot: Rob Hall (Jason Clarke) thought he found his niche when he established guided tours up Mount Everest for more or less amateur climbers, but since he started, many others have followed his lead and now base camp is full with groups – one of them led by Scott Fischer (Jake Gyllenhaal). Rob, too, brings yet another group to climb the top, among them journalist Jon Krakauer (Michael Kelly), postman Doug Hansen (John Hawkes), enthusiastic climber Beck Weathers (Josh Brolin) and Yasuko Namba (Naoko Mori) who wants to complete her collection of over 8000m peaks she’s climbed. But the group encounters more than one problem.
I’m not a mountain person. I don’t even understand skiing as a pastime, something people do voluntarily (and I’m fucking Austrian). So the concept of climbing Mount Everest is utterly alien to me. I understand it even less after having seen this film.
Billy Hope (Jake Gyllenhaal) comes from a poor background and out of the foster system, but he has literally fought his way into a good life: he’s a successful boxer, happily married to Maureen (Rachel McAdams) and has a charming daughter in Leila (Oona Laurence). But everything changes when Maureen is shot. Billy falls apart and with him, everything he has fought for: he is banned from fighting, his daughter is given into foster care, he can’t pay his taxes and loses his home. So he has to start from scratch, looking to trainer Tick (Forest Whitaker) for help to get back on his feet, and most importantly to get his daughter home.
Southpaw doesn’t really tell a revolutionary story, but it tells it well. The cast is unsurprisingly excellent and the race angle is surprisingly not awful, so that’s definitely something.
Louis Bloom (Jake Gyllenhaal) is smart and hungry for success. All he needs is an in to make his luck. When he witnesses a traffic accident being filmed by a freelance news crew headed by Joe Loder (Bill Paxton), Lou is convinced he has finally found the way to make a whole lot of money. He gets a camera and a police scanner and sets off to capture the perfect image. But with the first success comes the hunger for more and the necessity to blur lines to get everything he wants as quickly as he wants it.
Nightcrawler not only has the amazing Jake Gyllenhaal, but also a smart, insightful script and perfect pacing. It kept me on the edge of my seat the entire time.
It’s Thanksgiving and the Dovers are celebrating with their friends and neighbors, the Birchs. But when the little daughters of both families suddenly disappear, the festivities are quickly interrupted. As Detective Loki (Jake Gyllenhaal) is called, Keller Dover (Hugh Jackman) quickly loses his temper. And when suspect Alex Jones (Paul Dano) is apprehended to be released soon afterwards, Keller decides to take justice into his own hands.
Prisoners has a rather similar theme as Big Bad Wolves, so it’s hard not to compare the two and in that comparison, Prisoners stays a bit behind – but that’s just because Big Bad Wolves was that exceptional. Prisoners is, in fact, a really good movie.