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  • Win It All

    Win It All


    In the pantheon of films about compulsive gamblers, Win It All is a better film than Karel Reisz's The Gambler. When it comes to freewheeling, 70's influenced indies, a lot of films talk the talk but don't walk the walk. Win It All has it all; it meanders in a way that modern films usually don't but remains compelling at all times. Lead Jake Johnson has charisma to spare and the supporting cast is note perfect. I was unimpressed by…

  • The Discovery

    The Discovery


    So much of the tone is borrowed from Eternal Sunshine of the Spotless Mind (the first meeting between the two leads in particular feels very familiar, right down to how the scene is scored, shot and played), with further nods to the work of Wes Anderson amongst others, that The Discovery can't help feeling derivative. The film also doesn't quite deliver on the considerable promise of McDowell's debut feature, The One I Love, which is a real shame. Despite this though, there's lots about The Discovery that I enjoyed with the chief pleasure being Rooney Mara's electrifying performance. She really is wonderful.

Popular reviews

  • Prometheus



    The marketing campaign, with its beautifully realised virals, didn't set a foot wrong but it turns out all the filmmakers' artistry was employed in getting us to buy a ticket with very little left over for the main event. It's not all dreadful - the initial set-up has a certain something, Fassbender is terrific fun as a fey robot and Noomi Rapace is a remarkably sturdy heroine given how little she has to work with. But there's no story here to speak of and the tension generated as a result is negligible. What a missed opportunity.

  • The Believers

    The Believers


    Director John Schlesinger slices the ham extra thick for this nonsensical, justly forgotten schlockfest about a Voodoo-ish religion taking over New York's cognoscenti. Written by Mark Frost, who went on to co-create Twin Peaks, and adapted from a novel called The Religion, you can imagine throughout the sort of turgid prose this began life as. Keen not to appear racist the film indiscriminately demonises all religions, various ethnic minorities, rich people, bleeding heart liberals, middle-aged single females and, most hilariously, milk.