An excellent sort-of remake of Saturday Night Fever updated for the era of internet porn. Although the amiable, blue collar, Italian-American lunk in the lead role has only one interest in nightclubs (pulling) rather than Travolta's two, he resembles the earlier film's mildly disaffected hero in almost every other way, from the father/son battles for dominance over Mom's pasta dinners to the dead end job ameliorated by an attitude of living for the weekend.
A detour into romance with the lovely Scarlett Johansson can't quite make give Jon give up his spankbank; he wants her but at the same time knows she isn't quite the real thing. She is just as addicted as he, only to the emotional porn of Hollywood romcom, but neither of them can articulate their feelings about their need for screen fantasy-worlds of one kind or another nor understand quite how commodified both they and their aspirations are.
It's a very Catholic film, with the old trope of redemption from the figurative prostitution of Porhub offered by the saintly, human Madonna figure of Julianne Moore who Jon meets at evening class and who is able to offer him a real spiritual connection which begins to pull him away from the empty materialism of his upbringing and which it - and Johansson - expect him to reproduce.
Great performances all round (esp. Tony Danza as Jon's lookalike & ungrownup Dad) and you'd hope for more of this class from Levitt in the future.
I can't think of any redeeming features of this film. It is one of perhaps only two which I have either ejected half way or skipped through the last 25%. The characters are feral, vulgar slobs and painful to watch, even worse to listen to since the script is littered with f-words in every sentence. This is social un-realism taken as art.
OK, there are other films in which one does not like the characters, but here I can't even get to the first base of empathy. The plot is paper thin and predictable - and, yes, I skipped to the end part just to make sure there was no twist worth waiting for.
The mystery is that two excellent actresses should have lent their names to this trash.
This deceptively simple comedy does a backflip two-thirds of the way in and gives us food for thought. For the first hour or so, this film presents Don Jon as an unsympathetic, unfunny caricature, but this slips us a sly twist that belies the keen intelligence of the screenwriter, director and actor. It's a smart film that plays dumb. It's not a rule-breaker or worth more than one watch, however, it was interesting in how it made us reassess every single one of the characters. Brie Larson's taciturn sister probably comes off worse when the film begins to evolve into something a little more thoughtful - she's left high and dry as a stupid Silent Bob-style cipher.
It's not often I begin loathing a film and end up having to rethink everything I've seen before. For a modern American comedy this is very good, uneven but good.
Despite all the trailers stating otherwise, Don Jon isn’t a film consumed by internet porn, it may be the films driving force storywise but at its core Don Jon is a look into the way our generation looks at love and relationships from the cynics to the romanticists, Don Jon says something about all of us.
The film follows Jon (Writer/Director Joseph Gordon-Levitt) as he meets the beautiful Barbara (Scarlett Johansson) and struggles with his addiction to watching pornography as he begins to embrace his new relationship. As he tries to make things work with Barbara he must also contend with his family and friends as well as Esther (Julianne Moore), a student in the class he is taking who he doesn’t quite understand.
Jon’s life is one of routine and Levitt makes the often repetitive tale shine through his characters complete lack of self awareness. Jon and Barbara come across as creations of our generation, two people so lost that they hide behind their obligations and obsessions to hide the fact they have no clue what they are doing.
Levitt has populated his film with a cast of misfits, further highlighting the disjointed and downright unusual nature of our world, from Tony Danza as Jon’s equally immature father Jon Senior to Brie Larson as Jon’s oddly astute sister Monica. Moore brings life to the tragic Esther while making her story brim with untold heartbreak as Jon struggles to comprehend a life outside of his own.
Ultimately the film is a search for answers and while Jon looks for them in all the wrong places, Barbara thinks she has found them in her own selfish kind of way. As the two make a go of their often disturbing relationship the audience is treated to a group of comedic performances that show the beauty of the film’s script and Levitt’s skill as a first time director. Don Jon, while a mess of a human being, is a great little start for Levitt and a damn good picture.