Jake Gyllenhaal comes from a Hollywood family; his sister is an actress as well as his parents that are both national officers and screen-writers. His first large-hearted role was that of Homer Hickam in October Sky and has had several mainstream and cult-classics since then. Who can forget his titular character in Donnie Darko or Jack Twist in Brokeback Mountain? However, think it is or not, Gyllenhaal has had a lot more less-memorable roles throughout his acting occupation. He may be one of Hollywood’s most successful and remarkable performers, but let’s not forget where he came from. Here are 10 Jake Gyllenhaal roles that everyone forgets.

10 Jamie Randall – Love& Other Drugs

Undoubtedly, the writing in this sappy romantic slapstick precipitates flat, and Gyllenhaal commits a admirable effort to save it. Gyllenhaal does his undertaking, representing the selfish, reluctant-to-love Jamie Randall, but offers little more than industry standards show of an unoriginal character.

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However, his inherent allure does create another enchanting and hypnotic character that both his on-screen fascinate and publics can’t promotion but affection. In detail, I mull most too forget that he starred in Love& Other Drugs alongside Anne Hathaway!

9 Douglas Freeman – Rendition

Amongst the likes of Meryl Streep and J.K. Simmons, Gyllenhaal’s portrayal of CIA analyst Douglas Freeman fades into the background of this muddled political theatre. Unlike other personas in which even as a supporting courage Gyllenhaal seems the starring, his straight-faced, one-dimensional action is just as mediocre as the film itself.

It centres on the contentious CIA practice of extraordinary rendition and is based on the true narrative of Khalid El-Masri, who was mistaken for Khalid al-Masri. The cinema contains similarities to the case of Maher Arar.

8 Davis Mitchell – Demolition

As recently widowed investment banker, Davis Mitchell, Gyllenhaal is captured by a thick-witted and ill-considered script. Unable to properly grieve his wife’s demise, Gyllenhaal’s character is told to take their own lives apart to find himself — advice he takes literally.

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Dismantling his leaky fridge, and then eventually destroying his entire room, Gyllenhaal’s character seems callused and freezing more than the pacify numb it can be assumed was the intentions. Virtually a display of Gyllenhaal’s ability to thrust a sledgehammer at diversifying entries, this persona is an peculiarly dreadful recognize in his otherwise upward trajectory.

7 Howard Birdwell – Accidental Love

Accidental Love may be the worst 100 -odd hours of moving portraits and audio that has ever dared call itself a cinema. Even at his best, Gyllenhaal could do nothing to save it. Nonetheless, Gyllenhaal as the scatter-brained, though well-intentioned, politician Howard Birdwell is intolerably agonizing. Representing the case of a woman with a hammer stuck in her psyche, Gyllenhaal’s character’s erratic action is unjustified and his every action brings more questions than answers. Certainly a mistake, this capacity in Gyllenhaal’s recognitions would be best if just quietly erased.

6 Jimmy Livingston – Bubble Boy

In a cinema that would never get made today, Bubble Boy is one of “the worlds largest” flippant, unconcerned humors ever to be inspired by real occasions. A young Gyllenhaal offers a horribly humorous depiction of a son born without an immune system who, in his protective plastic illusion, sets out on a cross-country journey.

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With a type of humor petitioning mainly to crass prepubescents, this contentious undertaking lets Gyllenhaal to expose his comedic slants and serves as the actor’s singular goofy credit.

5 Scott Fischer – Everest

As cocky Mt. Everest descending leader Scott Fischer, Gyllenhaal delivers a fine act in a small role. Rarely without a whiskey in hand, Gyllenhaal’s character’s fateseems inescapable, though the determination and aspiration he employs raises a degree of admiration to the experienced climber. Accommodated from Beck Weathers’ memoir Left for Dead: My Journey Home from Everest, It is based on the real affairs of the 1996 Mount Everest disaster and concentrate on the survival struggles of two safarus groups.

4 Harold ‘Hal’ Dobbs – Proof

In this tangled theatre, Gyllenhaal’s depiction of push, albeit nerdy, Hal Dobbs is fairly forgettable in light of the film’s heads, Anthony Hopkins and Gwyneth Paltrow. Cheery and rosy, this rational and reasonable courage is one of few Gyllenhaal has ever dallied, and at minimum provides as a demonstration that he was able to, in fact, execute such characters. The scheme alters between contests immediately after the death of Robert, a magnificent mathematician whose genius was undone by crippling mental illness, and flashbacks revealing “peoples lives” he shared with his daughter Catherine.

3 Pilot – Highway

Subject to the consequences of his friend’s regrettable misunderstanding, Gyllenhaal is a drug-driven teen, who absence ability, reason, and motivation.

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In part to bad writing, Gyllenhaal is unable to garner audience support for his stoned, love-struck reference. Pilot’s ill-placed love to his delinquent companion and inexplicable obsession with a half-lizard/ half-boy are just some of the unending problems with this film. Though Gyllenhaal’s chemistry with co-star Jared Leto is captivating, the On The Road-esque film is confusing and cringe-worthy at best.

2 Jordan – Lovely& Amazing

As a high school, one-hour-photo clerk Jordan, Gyllenhaal’s part is little more than a patch portion, but he does it well. Given little opportunity to show his acting cleverness, and just a few minutes total screen day, Gyllenhaal’s smile and woebegone, insoluble charisma are irresistible as he becomes the causes of tendernes for a much-older married woman.

1 Danny Robbins – City Slickers

Playing the on-screen son of Billy Crystal’s character, Jake’s big screen debut was a blink and you’ll miss it time. At the tender age of 11, he could almost pass for a Macaulay Culkin look-a-like.

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Being his first character, it is of little result to the narrative of the narration. In Pamplona, Spain, Mitch Robbins, a radio advertisement exec, participates in the annual San Fermin festival, along with sidekicks Ed Furillo and Phil Berquist. Back in New York City, Mitch has turned 39 years old and realizes his jaunts are to escape the reality of going through a midlife crisis.

Read more: screenrant.com