Demolition is a film defined by its contrivances. Critically and promotionally; talk of the movie has been dominated by the novelty, and sometimes derived for the ‘wackiness’ of its central premise. In it, Jake Gyllenhaal plays Davis, a man who loses his wife in a car crash and, having never been attentive enough to love her in life, attempts to do learn how to do so in death – through correspondence with a vending company who owns a machine which ate his change shortly after her death and by the literal dismantlement of various objects in his life. In other words: it’s not hard to see why. But a dodgy premise is not cause to right off a project (I’m looking at you, Breaking Bad). The pull of the film hence became the presence of Jake Gyllenhaal who, after the streak of Prisoners, Nightcrawler, Enemy and Everest has joined the likes of Joaquin Pheonix and Oscar Isaac as two of the most reliable young actors in American cinema – and the director, Jean-Marc Vallee of the excellent Dallas Buyers Club and Wild. Thanks to their respective talents, Demolition works: against the odds.