J. Gordon Levitt

Don Jon

Sex comedy.  Like, is that a real thing, a legit genre?  If not, I just made it up – because that’s the best way to describe Don Jon, an entertaining movie that was all at once a farce, satire, romantic comedy, and character study.

I recently found myself zealously defending J. Gordon Levitt (Looper) on Twitter to someone who saw him presenting an award at the MTV VMAs and quipped, isn’t that the guy from Third Rock From the Sun, has he done anything since then?  I replied with Inception, The Dark Knight Rises? Hello?  Levitt is quite the gifted, young actor in my estimation.  He brings a quiet, emotive sensitivity to his roles, and that vulnerability makes his characters more human and relatable.  That sensitivity resonated in movies like 50/50 and 500 Days of Summer, which featured emotionally compelling lead characters.  Well, Don Jon is a departure from those emo, heartwarming flicks for sure – though the ending may surprise you.

Don Jon marks Levitt’s debut as a writer/director, and I think viewers will find his style humorously authentic.  Levitt stars as Jon, a young man who looks like he could’ve been on Jersey Shore.  To my point, the movie is set in New Jersey and Jon is young, Italian, obsessed with his physique and always DTF (down to uh…let’s just say ‘fornicate’).  At first blush Jon is a walking cliché: a young man obsessed with his sexual conquests and women in general.  He and his friends go out prowling, and more often than not Jon is successful, at least in terms of “scoring.”  By any other metric, Jon is lacking, though he is oblivious to his emotional ineptitude.

You see, Jon’s sexual identity and habits are largely shaped by the world of digital porn.  His affinity for porn borders on compulsion.  He’s like a walking boner –  finding visual stimulation in the most innocuous of places, including the check out aisle of the grocery store.  However, lest you think Jon lacks even a modicum of substance – his lifestyle departs from vapidity when we glimpse his love of church and family, which is hilariously juxtaposed with his sexual exploits.

Sometimes it takes a particular experience or person to help us achieve self-actualization in certain aspects of our lives.  For Jon, meeting Barbara (Scarlett Johansson, Hitchcock) inadvertently changes his world.  To say that Barbara is alluring would be an understatement, and her physical appearance draws him in immediately.  Johansson and Levitt had magnetic chemistry, more than any pair I’ve witnessed recently.  Initially Jon is content to bask in Barbara’s sheer hotness, but most relationships that begin with such aesthetic adulation end in disappointment, and Jon begins to question his perceptions about dating and intimacy.  I don’t want to give away too much about the plot, but Julianne Moore (Crazy, Stupid, Love) is featured in a supporting role and perfectly adds to Jon’s character development, contrasting completely with Johansson’s more overt appeal.

I enjoyed Don Jon, because I thought it had a little more substance than people may give it credit for.  Sure, it’s funny and a little raunchy.  But it was also thoughtful, reflecting a depth of character that wasn’t readily apparent.  J. Gordon Levitt has given us a peek at his wheelhouse, and I want to see more.  This movie would make for a great date night, and unlike the typical rom-com: you won’t have to drag your man kicking and screaming.  Grade: B+

Looper

Every self-proclaimed movie buff has a favorite genre and type of movie.  My favorites are suspense thrillers or crime dramas.  I also like movies that feature intersecting storylines.  I think the best movies are “high concept,” meaning that the storyline is uniquely original and it features a refreshing central idea.  Some examples would be Inception, In Time, and Minority Report.  All three of those movies were unlike anything that preceded them.  Looper was such a movie, a high concept tale characterized by an inventive storyline.

J. Gordon Levitt (Inception) has matured into a fine young actor.  He has been impressive in everything I’ve ever seen in him, most notably 500 Days of Summer.  In Looper he stars as Joe, a young criminal in the desolate future of 2044.  30 years from that in 2074, time travel will be possible.  It is ultimately outlawed, used only by criminal organizations in secret as a way of eliminating unwanted offenders.  Joe is a looper, a person who executes people who have been sent back from the future.  Criminals in 2074 send their victim (always another criminal) back in time to 2044, where they are immediately shotgun blasted out of existence by a looper.  There is now virtually no trace of the person ever having existed.  It’s a sad and efficient way of dispensing with an enemy.  Occasionally a crime boss will want to get rid of an employee, even a looper.  When this happens, the looper will make the requisite kill, only to remove the pillowcase from his victim to discover that it’s him or herself (in the future).  This is called “closing your loop,” which means that your future self no longer exists.  The worst thing that a looper could do is fail to close his loop by letting his future self escape.  An open loop means that a future and present version of the looper co-exist in the present.  It also means that they haven’t been removed from the future yet.  It would be like 33-year-old Tanya and 63-year-old Tanya chilling right now in 2012.  Bugged out, right?  Exactly, that’s why it can’t happen.  As crazy as it must seem to put a bullet in your future self, that’s what a looper must do, if necessary.  Joe doesn’t lack the resolve to do it, but he bungles a hit on his future self (Bruce Willis, Red) when the time comes.

Of course, being a looper, Future Joe (Willis) knows exactly what is going to happen when his bosses try to send him back in time.  He prepares for it and outsmarts Present Joe easily, overpowering him and escaping.  I’m just going to refer to Future Joe as Bruce Willis, for simplicity’s sake.  Once his bosses find out that Joe didn’t close his loop, they send a bounty hunter (Jeff Daniels, The Newsroom) back in time to eliminate both Joes – the young one for botching the job and the old one because he was the target in the first place.  Joe himself is also very committed to killing himself, stopping at nothing to track Bruce Willis down.  There is a curious dynamic between Young Joe and Bruce Willis, as their agendas are wildly divergent.  Bruce Willis wants to make sure that his life plays out, as it should, the way he knows it.  He already knows what his version of the future holds, because he’s lived it.  He has a wife that he’ll never meet if Young Joe somehow alters the course of their lives.  Young Joe wants to make his own way in the world and cares nothing for a hypothetical future that he knows nothing about.

Looper was an intriguing movie.  Its high concept premise lured me in, but there were several enjoyable elements.  The casting was great.  Bruce Willis was fitting as the grisly older man who is one step ahead of his younger self.  He really looks like an older version of J. Gordon Levitt, which was especially noticeable in one scene where both actors were shown in profile.  Emily Blunt was also featured, and I think she’s very versatile.  Here she showed a vulnerability and sense of love and compassion that I liked very much.  Her performance was both emotional and convincing.  Levitt always simply does whatever is required of him, and he does it very well.   Looper was nearly flawless, and I hope that Levitt continues to challenge himself with great scripts like this one.  Grade:  A