After he graduated from the University of St. Thomas, Jonathon joined the web team again as a web producer in February of 2011.
When he is not editing and/or writing articles, Jonathon writes for the Movie Blog.
Aside from cinema, Jonathon climbs rocks.
He also loves Carl Sagan.
While Lewinsky builds an engaging base around the seriousness of rape and the consequences of alleging it, what he makes his characters do – especially Thomas – just gets so nut that it’s difficult to watch with a straight face.
Russian auteur Alexander Sokurov, the creator of the 2002 one-take behemoth Russian Ark, has now turned his restless attention to the Louvre. In this freewheeling poetic essay Francofonia, which has far more than one take, the filmmaker explores the relationship between great art and power, especially in the era of Nazi-occupied France.
The three actors were recently in town for an event at the Mall of America, and I had a chance to speak with them about the similarity between sports and acting, working with Linklater and the philosophical messages the filmmaker fits in amid the debauchery.
Unlike Hany Abu-Assad’s last two intense, conflict-focused films — “Omar” (2013) and “Paradise Now” (2005), both of which were nominated for a Best Foreign Language Oscar — “The Idol” is a heartwarming, triumphant and often funny work on the life of the now famous Palestinian vocalist Mohammad Assaf.
The nostalgia is real in Richard Linklater’s “Everybody Wants Some!!,” which is being dubbed the “spiritual sequel” to the director’s coming-of-age high school classic “Dazed and Confused.”
The 35th annual Minneapolis St. Paul International Film Festival launches in Minneapolis Thursday night with a screening of the heartwarming Swedish film A Man Called Ove.
Played by the impeccable and cherub-faced Catherine Frot (who won the French equivalent of an Oscar for her performance), the titular character is narcissist so full of herself she’s almost adorable.
“Creative Control,” as a whole, doesn’t quite congeal. The falling-in-love-with-an-augmented-reality-character plot, although it’s pushed along by the film’s humor and visual style, is too improbable to swallow outright. Moreover, the characters are so terrible to each other that it becomes difficult to care about them to the degree where the film’s themes would pack any emotional punch.
Rejoice, Minnesota cinephiles! This lineup for the Minneapolis St. Paul International Film Festival is out.
Nominated for a Best Foreign Language Oscar, “A War” is a squirm-in-your-seat journey into the fog of war and the various conflicts, both internal and external, that arise when a soldier tries to act morally while being ripped apart by competing interests under the most stressful of circumstances.
Cary Grant in Hitchcock’s “Notorious,” pioneered a career of international stardom that looks modern, if not normal, to today’s viewers, but in her time was anything but.
In the first part of his 6-hour, fantastical portrait of his native Portugal during “bread and water” austerity, director Miguel Gomes admits that the idea behind his fresh-cut trilogy might be the dumbest he’s ever had.
Here’s a look at what films are likely to take home Oscars in the animated and live action short categories.
With a gorgeous and evolving animation aesthetic that includes lush, crayon-drawn jungle landscapes and dada-like collages of animal machines, “The Boy and the World” is at once a vivid reflection on childhood and a sobering parable of economic disparities.
For anyone who’s read Vladimir Nabokov’s ever-controversial “Lolita,” Ross Partridge’s “Lamb” will feel like familiar territory. Although the film is based off a different book by Bonnie Nadzam, its story of a man who basically abducts an 11-year-old girl on a journey to America’s heartland is gripping, lyrical and unnerving. What makes it so uncomfortable is that the work constantly asks you to wonder about love between a man and a child – and if such a love can ever be something other than morally atrocious.
Hitchcock/Truffaut is a song of jubilee for that outstanding and unmistakable icon of American movie-making, Alfred Hitchcock. While Hitch is no doubt a creative and influential titan in the public mind today, it’s important to remember that this wasn’t always the case.
To see the British Arrows Awards is to get a glimpse into the culture across the pond. This is true every year, as Minnesotans have seen the best of British ads at the Walker Art Center in Minneapolis for 29 years now, and the tradition is something of a holiday staple.
Despite the monetary connotations of her name, Peggy Guggenheim amassed one of the greatest collections of modern art in the world, and she did so without throwing tons of money around.
“The Assassin” is not a typical period piece kung fu movie. While on the surface it might look like Zhang Yimou’s “Hero” or “House of Flying Daggers,” the tone and substance of director Hou Hsiao-Hsien’s work is far different. Instead of fantastical wire-fu fight scenes and kaleidoscopic melodrama, the focus here is highly tuned to visual composition, landscape and lyrical story-telling.
Think of Simon Pegg in a romantic Judd Apatow film, and that’s pretty much what’s going on in “Man Up,” a goofy yet endearing English comedy making its way stateside this month.
‘Tis the season to explore via cinema. Sound Unseen was here last week, bringing Twin Cities audiences music-based films, and this week the Film Society of MinneapolisSt. Paul is hosting Cine Latino, an annual showcase of new works in Spanish-language cinema.
The Sound Unseen film festival opens this Wednesday in St. Paul with a documentary that is pure musical jubilee. “Mavis!” is a joyous and celebratory look at the life of Mavis Staples.
Women in wartime is the central theme of Daniel Barber’s The Keeping Room, a chamber piece wherein two sisters and their former female slave fend off rape and rampage during the Civil War.
As part of its Halloween weekend offerings, the Walker Art Center is screening something of a cinematic treat: Apichatpong Weerasethakul latest film, the “Cemetery of Splendor.” Like the director’s Palme D’Or winning 2010 work “Uncle Boonmee Who Can Recall His Past Lives,” “Cemetery” explores aspects of spirituality and brings them to life under the shadow of Thailand’s troubling political realities.
To step into the Iran of Jafar Panahi is to encounter a world where an internationally celebrated director isn’t allowed to make movies. Five years ago, Panahi was charged with propaganda against the Iranian government and told he couldn’t make movies for 20 years. Still, Panahi has persisted, making films about his house arrest (such as 2011’s This Is Not A Film, which was sneaked out of the country in a cake) and doing odd jobs, like driving a taxi.