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De­par­ture An­drew Steggall’s de­but fea­ture adds enough of an orig­i­nal dra­matic spin to en­sure De­par­ture is more than the typ­i­cal LGBT com­ing out/ of-age drama that it may ap­pear. Beatrice (Juliet Steven­son) and teenage son El­liot (Alex Lawther) head to their get­away home in France, where El­liot be­comes in­fat­u­ated with a lo­cal teen. All man­ner of sex­ual con­fu­sion fol­lows, of course. Sump­tu­ously shot and del­i­cately crafted, the dove­tail­ing nar­ra­tives and over­ar­ch­ing themes en­sure De­par­ture is true to its ti­tle in a genre stuffed full of tired cliches.

De­mo­li­tion Pair­ing Jake Gyl­len­haal with the di­rec­tor of Dal­las Buy­ers Club, JeanMarc Val­lée, sounds like a match made in heaven. And while De­mo­li­tion grips through­out and Gyl­len­haal is pre­dictably bril­liant, it’s not quite the home run many may’ve imag­ined. Gyl­len­haal plays Davis, an in­vest­ment banker whose wife is killed in a car ac­ci­dent. As he strug­gles to cope, he slowly but chaot­i­cally un­rav­els. While the per­for­mances are pow­er­ful and grip­ping – Naomi Watts im­presses, even with lit­tle to do – the soulsearch­ing doesn’t quite reach the philo­soph­i­cal, emo­tive heights it’s seek­ing.

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