Don Jon by Joseph Gordon-Levitt

Joseph Gordon-Levitt

Don Jon by Joseph Gordon-Levitt

Jon “Don Jon ”Martello is dedicated to his family, friends, his apartment, church and one night stands with women. But none of these compare to the transcendent bliss he achieves with pornography. Dissatisfied, he embarks on a journey to find a more gratifying sex life, but ends up learning larger lessons of life and love from two very different women.

Don Jon marks as the debut film of Joseph Gordon-Levitt, who is the writer, director and star of the film. What’s most praiseworthy about JGL’s direction is how he puts the audience into the world view of his lead character Don Jon. It makes a good cinematic explanation of how Don Jon prefers pornography over bedding real women, a character trait that can easily be viewed as unlikeable or disgusting if mishandled. We never really venture outside his world, but yet Don Jon’s views seem logical enough to keep the audience invested in what happens to him.

Directing duties aside, Joseph Gordon-Levitt’s ability to transform himself amazes me. Having seen him in Inception, (500) Days of Summer and The Dark Knight Rises have familiarized me with the sound of his real voice, but I was still astounded by Don Jon’s macho New Jersey-accented voice. I was carefully listening to Don Jon’s dialogue and couldn’t detect any hints of Gordon-Levitt’s real voice underneath. It is artfully consistent and was the core element that sold me on the Don Jon character.

Scarlett Johansson has been said to be a wooden actress in the past. I think this was probably one of her better performances. This character felt like a real person to me. I have met and dated girls like Barbara. Furthermore, the allure of Scarlett Johansson is cinematically ramped up to eleven. She hasn’t been filmed to this level of sexiness since Match Point. For fans of the Black Widow, I’d even argue that this tops that. This is probably more to the credit of the direction. We feel Don Jon’s hunger for her. And like Don Jon, she too mesmerized me. And not just cause of her looks. She seemed like the ideal girlfriend at first and couldn’t really see her character flaws till late in the film. When I realized her character flaws, I was surprised I didn’t see them before. That was a very compelling moment for me in the theater. Honestly, Johansson’s character distracted me so much, I would need a second viewing to tell you anything about the Julianne Moore character.

Seeing Tony Danza as Don Jon’s father Jon Sr. takes me back to my childhood. He was the only man on TV who can make my dad cackle like a fiend in the English language. Danza’s presence adds warmth and makes for a convincing father. Brie Larson gets to do a Silent Bob type gag that is quite amusing.

The film’s brutally truthful display about the realities of men and women as a source for comedy, while handled tastefully with charm by Joseph Gordon-Levitt, hits a little too close to home. I have had discussions like this with a girlfriend similar to the Scarlett Johansson character. It accurately captures why it’s hard for men to explain the joys of pornography to the opposite sex. As Louis C.K. once put it, men just need to release so they don’t go out and murder somebody. That’s really it, but it’s not a pleasing satisfying statement to convince a girlfriend with. I’d argue that any girl that needs an explanation wouldn’t be convinced anyways because they probably have double standards. The film seems to take the same stance. All that said, the film managed to end on a poignant tender note.

In the end, Don Jon is somewhat of an odd animal. I wouldn’t personally recommend it as a date movie with your girlfriend, for the very fact that it might just open the awkward discussion of “How much pornography do you watch?” with your girlfriend. I still think people should see it as it is a competent debut film.

So on a more politically neutral note, I’d say guys would have more fun with it watching it with their guy friends and likewise with girls and their girlfriends. It’s probably better to be charmed by it separately than leaving the theater together primed for an awkward argument.

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21 Jump Street by Phil Lord and Chris Miller

21 Jump Street by Phil Lord and Chris Miller

A pair of underachieving cops are sent back to a local high school to blend in and bring down a synthetic drug ring.

Confession: I have a very big soft spot for buddy cop movies and have seen way too many that is considered healthy for a normal bloke by civilized society. I like the setups, the witty banter, the themes of overcoming differences and looking inside the friendships and brotherhood between men. Some noteworthy examples of mine are The Hard Way, The Last Boyscout, Curry and Pepper (with Stephen Chow and Jacky Cheung), the Lethal Weapon series, Tsui Hark’s Double Team (no cops but it technically counts),  Die Hard with a Vengeance, Kiss Kiss Bang Bang… the list goes on. Even though it was probably for the better how things turned out, I was really rooting for Shane Black’s Lethal Weapon 5 script to be filmed. Yes, see what I mean?

Now with my bias established, on with the review…

First off,  I’m unfamiliar with the original show, all I know is how much Johnny Depp hated being on the show but it was where he did his 10,000 hours of honing his craft. The idea of cops going undercover as students seems like such a far-fetched and out-dated idea that it would only seem to work as a comedy. So the question is… does it work?

Suffice to say, it really does. I laughed a lot more than I expected with 21 Jump Street. In many ways this is what Cop Out failed to do. 21 Jump Street does do  the genre convention gags and references movies but unlike Cop Out does not focus the entire movie on them. The convention gags (I am not going to spoil any of them here.) are handled well with balance. It never goes overboard with its meta sensibilities and still manages to deliver surprises.

Jenko (played by Channing Tatum) and Schmidt (played by Jonah Hill) are two believably stupid characters. Stupid characters are a tricky act to balance writing wise so it was impressive to me how many gags they were able to get out of these two characters while keeping their stupidity consistent. Jenko and Schmidt start off as classmates, one is a jock and the other is a geek who both end up befriending each other in police school when they need each other’s strengths. That bromance story is something that I never really get tired of. Stupid characters are a tricky act to balance writing wise so it was impressive to me how many gags they were able to get out of these two characters while keeping their stupidity consistent. There is a decently written plot and it provides some nice twists and turns that genuinely surprised me. I’m going to spend the rest of the review mainly talking about the comedy writing

The time change between the present and the 1990’s is also addressed and 21 Jump Street does it in an interesting way: it addresses the idea of popularity and how it has changed since the 90s. Nerds (specifically hipsters) have become cool and jocks are out. It becomes the best gag in the entire movie and is the source of many of the best jokes. When the reversal of popularity dawns on Channing Tatum’s Jenko, he’s suddenly become the social outcast.

This is proof that you should never ever write anybody off because chances are they will find their niche and surprise you. This is the Channing Tatum’s greatest role yet and probably the best thing I have ever seen him in since Michael Mann’s Public Enemies. Tatum is doing a parody of himself and plays it absolutely straight to a cheeky level. He’s the good looking straight man hero, he knows it and the film knows it. As he gets more mad at being ostracized and left out by his nerd friend Schmidt, we laugh harder at him struggling and attempting to process that anger. A funny noteworthy scene is where Jenko enters a room and starts beating Schmidt with stuffed toys and humping him as he is on the phone with the love interest Molly (played by Brie Larson). There’s no dialogue, it seems like a friend messing with another friend but we get totally why Jenko is beating him. The fact that Schmidt is unaware makes it totally funny. 

There’s a trend of lazy writing going in comedies these days with the Judd Apatow movie trend, where he turns on the the camera and lets his actors improvise too often. Sometimes it works, sometimes it doesn’t but overall he relies on it too much. I’ve read a draft of the Funny People screenplay and it was clear that they just wrote down the gist of the scenes and improvised their way through shooting. I bring this up because it came very apparent to me that 21 Jump Street seemed it was really written by writers who stayed up late at night on expressos chiseling the right zingers.

The issue with improvised lines is that they draw a lot of attention to themselves because often the audience instinctually feels that the camera is lingering for something that’s not moving the story forward. Many of the comedic zingers in 21 Jump Street were throwaway lines and there is something very artful about them. Jokes come and just past by. You have to catch them or many of them will zip by. It was a more engaging experience that way and I found myself finding new funny lines on a second viewing.

I laughed throughout the entire movie (last movie where this happened for me was 2010’s Morning Glory) and still am currently quoting lines with friends. It was equally enjoyable on a second viewing and I actually noticed new things that made me laugh. I would recommend this to anybody but especially for anybody is a fan of the buddy copy genre.

Please sign me up for the sequel!