The Demolisher feels exactly like what it is: a tedious collection of scenes edited together with little effort at creating a coherent narrative or momentum.
When I first read the description of The Demolisher, I immediately thought of 1980’s The Exterminator. The plot lines sound quite similar. Both feature men pushed to vigilantism after someone they love is harmed by criminals. (Of course, both of these films owe a debt to 1974’s Death Wish, starring the inimitable Charles Bronson.) While both The Exterminator and The Demolisher are brutal and violent, they are not equals. In fact, they’re not even in the same league.
Ry Barrett stars as Bruce, a cable repairman in Toronto. He’s married to Samantha, a policewoman. While on duty, Samantha (Tianna Nori) is brutally attacked by a gang of thugs and left for dead. Her injuries are so severe that she now needs a wheelchair to move around. Bruce dons riot gear and begins hunting down the gang members who are easily identified by their jackets. We never see the moment Bruce decides to seek revenge. His first appearance depicts him mercilessly beating someone to a pulp on the sidewalk.
As Bruce continues on his one-man crime hunt, he begins to break down mentally. What constitutes a valid target for his vigilantism starts to become hazy. Soon, Bruce is killing people for no good reason. When he becomes aware of a young woman named Marie (Jessica Vano,) he begins to hunt her down. He feels that she’s a threat; although we’re never explicitly told why. Strangely, 30 of the film’s 86 minutes are consumed by Bruce’s pursuit of Marie. (Bruce and Marie have a link; but the film never connects those dots.)
The Demolisher feels exactly like what it is: a tedious collection of scenes edited together with little effort at creating a coherent narrative or momentum. Director Gabriel Carrer doles out the story — or lack of it — in a way that forces the viewer to put the pieces together. It’s as if it was created with the hope that some viewers might find it “refreshing” because it doesn’t follow the conventional rules of film-making. That might have worked with stronger material. It certainly doesn’t work here.
It’s a shame because the performances are decent and the cinematography is excellent. Glen Nicholls’ pulsating electronic score gives the film an appropriately threatening atmosphere. When Bruce wears his Demolisher get-up, he cuts an imposing figure. The climactic chase initially echoes the tension of classic slasher movies. But these positive elements are wasted in a film that places more emphasis on style (and slow motion sequences) over anything else. Do yourself a favor and avoid The Demolisher. No one needs this kind of frustration in their life.
1.0 out of 5.0 stars
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