The Demolisher. 2015. Directed & Written by Gabriel Carrer.
Starring Ry Barrett, Tianna Nori, Jessica Vano, Duncan McLellan, Gerrit Sepers, Bruce Turner, Duane Frey, Andrew Bussey, Owen Fawcett, Rich Piatkowski, & Reese Eveneshen. Latefox Pictures.
Not Rated. 85 minutes.
Sometimes the hype of a film precedes it with way too much intensity. The Demolisher is absolutely one of those types. One of the posters is loaded down with so many quotes there’s barely enough room for the poster itself; already utilizing a minimalist style having the main character stand in a meaningful pose by himself, as if representing everything about the film. Yet these quotes, and from reputable sources (mostly), confuse me. After watching this I couldn’t figure out exactly how any of these reviewers managed to come up with those words to describe it. Granted, there are aspects here of which I’m a fan. The atmosphere and overall tone, including the score and some of the cinematography, makes for an audio-visual treat you don’t usually get out of small indie films, except for the excellent ones floating around out there. So director-writer Gabriel Carrer milks some of what he can out of The Demolisher. Only, after viewing it a couple times just to make sure I felt solid on my verdict, I can’t help feeling there are missed opportunities for storytelling inside this loaded story, as if the plot never truly kick starts itself and gets going proper. Instead we’re left with 85 minutes loaded down with intense, booming music in the score from Glen Nicholls, and some good cinematography out of Martin Buzora – too often marred by the use of slow motion at times – rather than a supposedly John Carpenter-esque, low budget Michael Mann flick, as the poster touts. The influences are there, no doubt. But the quality is far from that hallowed territory.
A cable/internet repairman named Bruce (Ry Barrett) takes care of his disabled wife Samantha (Tianna Nori), a former police officer whose injuries came as a result of a gang-related shooting. Slowly, Bruce devolves into his own world where he takes to the streets at night, donning riot gear and a vicious appetite for violence. More and more the nights bleed into his daytime life. He becomes a vigilante of sorts. Except soon enough, his mental health falls apart. And in the daytime, his violence comes out. After killing a man during a house-call repair, Bruce begins to truly go mad.
When he focuses his disturbing, violent psyche on a young girl named Marie (Jessica Vano), his world crumbles into a frenzy of chaotic madness.
I’m just not sure, above all else, what Carrer is trying to say or do with this movie. What I enjoy is that we get an indie film action flick, as there are several great chase and fight sequences. Added to that is the level of brutality and outright horror inflicted by Bruce, a.k.a the titular Demolisher. So what I do get is that Carrer perhaps wanted to do some action-styled sequences on a lower budget, and they turn out insanely awesome at times; when the slow motion doesn’t rear its head too often.
But aside from action, what’s the point of it all? The Demolisher sets itself up as an emotionally charged character study focused on Bruce and his descent towards madness. However, along the way his journey becomes unclear. At first I imagined there was something to his vigilantism. Or is that merely a gateway into this action-oriented horror? Still not sure. If it’s simply a way to make Bruce into this hulking, always stalking killer like a Death Wish Bronson crossed with Carpenter’s Michael Myers, then it works. Sort of, not always. If there’s something more profound to the journey of Bruce, I’ve yet to figure that out. Not saying the elements are all there to make this anything profound, but it feels like there’s something more this film wants to do or wants to be. Somehow, Carrer loses it along the way and The Demolisher transforms into a lazy bit of horror trying to masquerade as partly arthouse. Never is a mark hit either way. And the finale downright makes no sense to me, so at every corner I’m at a loss for compliments.
All style over substance here. Except, even when the filmmakers are trying for style, there are moments this does not work well for them. As I said, the slow motion bits were a tad too prevalent, and they did nothing to enhance things. Other than give us some more time to watch the scenery and the nice-looking cinematography. Outside of that, this technique only makes things look boring, as if we’re watching any other wannabe action-thriller; over and over, the action is slowed down, to the point these brief bits are painful to watch.
I do love some of the filter work, such as a quick couple shots of Bruce in his riot gear, bathed in a reddish wave of light. Definitely Mann-inspired. But these few types of scenes are limited, and they don’t add anything overly special to anything. With the amazing, nerve-wracking score from Nicholls pulsing constantly, it’s a shame the visuals never amount to much in the end. There could’ve been so much more accomplished with the film’s aesthetics. Unfortunately, it’s all for nought.
This movie gets a 1&1/2-star rating. I can’t give it any more without hating myself. Obviously the visuals and the audio make things exciting to hear, and to look at. But none of that is enough to lift this film out of the muck and mire. At first, you expect The Demolisher will rock you with an amazing style. It does nothing except lull you into hoping at some point the plot will break out and do big things. Never happens. Don’t walk into this relying on any of the outrageous quotes put on the poster. In fact, I chose to track down a totally different one to use on this review because I will not let those totally unrealistic expectations poison you. See it, judge for yourself. But this one’s a real rough watch. And not in an awesome horror-like fashion; just rough and forgettable.