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 enjoys rock climbing, Dota and reading.
He also has a huge crush on Carl Sagan.
The Walker Art Center’s beloved Internet Cat Video Festival is becoming something of a Minnesota summer tradition, and this year it’s coming to St. Paul.
Like “The Tale of Princess Kaguya,” one of my favorite films from last year, “Song of the Sea” is a gorgeously-rendered visual experience wrapped around a folktale narrative. Also like “Kaguya,” “Song” is among those films nominated for Best Animated Feature in the up-coming Academy Awards. Yet while my vote would probably still go to the anime, “Song of the Sea” is not to be ignored.
What makes the Australian horror movie The Babadook so spookily satisfying is that it isn’t so much about a shadowy monster terrorizing a single mom and her little boy as it is about the psychological health of a family devastated by loss.
To call Princess Kaguya pretty wouldn’t do it justice. The watercolor animation from Studio Ghibli (Spirited Away, Princess Mononoke) is at once airy and abundant, simple and sublime. For those depressed by winter’s early arrival, this film is a spring breeze, a breath of life.
Acclaimed and prolific documentarian Frederick Wiseman has turned his lens to a museum – and not just any museum. Works of Leonardo da Vinci, Rembrandt, Velazquez, Titian, and Rubens are among the thousands of classic paintings that fill the halls of London’s National Gallery, and Wiseman, in his observant and meticulous way, captures the struggles and joys of keeping the celebrated and venerable institution at such an exulted state.
Sweet Lord in heaven, what a movie. This tough, tragic documentary by filmmaker Jesse Moss is one of the year’s best, and it should probably be required watching for anyone in the Midwest.
Listen Up Philip is a film for those fascinated by Philip Roth, or that harbor a soft spot for people whose creative personalities stem, in part, from them being jerks. The dark comedy’s story revolves around the New York literary scene, and the problems a talented and amazingly egotistical young writer might face while living in “the city.” Yet, comedy might not be quite the word for it. Listen Up could just as well be a tragedy – a slow, meandering tragedy – with great design, superbly-rendered characters, and a few laughs here and there.
“Goodbye to Language” is pretty much impossible to follow and almost jokingly esoteric. To “get it” doesn’t even seem to be the point. Yet, it cannot be denied that “Goodbye” is jarring, visually electrifying and probably has more fun with 3D than any movie ever made.
This weekend kicks off Cine Latino, a film festival put on by the Film Society of Minneapolis-St. Paul that seeks to celebrate movies in Spanish and Portuguese. Here are capsule reviews of a few of the films that caught my eye.
Nothing quite says Happy Halloween like a spaghetti western set in Iran featuring a hijab-wearing vampire and a kick-ass soundtrack. Director Ana Lily Amirpour debut is a work of striking confidence and imagination; it’s a draft of life, a vein of new blood. Her work rings of the stuff of David Lynch and Harmony Korine, yet all the weirdness works to open the way for sonorous (and somehow gentle) emotion. Even if you’re allergic to zombies and vampires, this black-and-white gem isn’t one to hold a cross to. Moreover, it’s pretty much perfect that it’s screening Halloween night at the Walker.
The Film Society of Minneapolis-St. Paul is presenting what it calls the “region’s largest celebration of Spanish and Portuguese language film,” and tickets for the general public go on sale Monday.
Does your life change, ever so slightly, whenever you happen to hear a song from Elliott Smith’s “Figure 8”? If so, you might want to carve out some time next month to attend Sound Unseen, […]
Nick Cave, the legendary musician and writer, who was frontman of post-punk band The Birthday Party and currently heads Nick Cave and the Bad Seeds, is the beating, bleeding, open heart of 20,000 Days on Earth, a film so full of strange set pieces that it feels wrong to call it a documentary.
Toward the end of The Last Days in Vietnam, a marine who was part of the evacuation of Saigon describes the terrible episode as the Vietnam War “in microcosm.” That is to say: It had the tragic mix of good intentions and poor leadership that led to broken promises and a country’s demise. Yet, filmmaker Rory Kennedy’s vital and moving documentary on the Fall of Saigon isn’t so much about her pointing a finger, as it is about highlighting the pain, panic, heartbreak, and heroism wound up in those dark days in the spring of 1975.
No plans Tuesday night? Then perhaps you’ll be down to judge some short films in the world’s only global film festival. It’s called Manhattan Short, and it’s happening (locally) at Minneapolis’ St. Anthony Main Theatre.
“Take Me to the River” has a quality many documentaries lack: it gets better as it goes on. At first, director Martin Shore’s love letter to the Memphis music scene feels like it might be one of those making-of documentaries with too much studio footage to be seen outside of fandom. But as its legends of soul and blues sing on screen, a story unfolds that reverberates with incredible vitality. The takeaway? American music wouldn’t be what it is today same without what flowed from the Mississippi Delta.
Fall officially started on Monday, but the announcement that the British Arrows Awards are returning to the Walker Art Center is truly a sign that summer is in the rear-view mirror.
The love life of ‘50s Hollywood star Errol Flynn is too easily imagined in the lingering phrase “in like Flynn.” The notorious playboy is the “Robin Hood” this film’s title refers to, and his end-of-life relationship with a teenage girl is the focus of writer-director duo Richard Glatzer and Wash Westmoreland. The two dive into the relationship’s gray areas, yet the work doesn’t emerge all that dark or dirty. That’s strange, because it probably should.
Food reigns supreme at the Minnesota State Fair, but a lot of it isn’t from Minnesota. The popular Pronto Pup, for instance, isn’t even from the Midwest.
“God has to be busy with everyone else” — Those are the heartbreaking words said by one of the three boys whose lives filmmakers Tracy Droz Tragos and Andrew Droz Palermo follow in Rich Hill, a sobering yet vividly human documentary about poverty in small-town, Middle America. From the get-go, it’s apparent that at least one of these boys has been called “white trash,” but the film never treats them with scorn. Instead, cinematographer Droz Palermo captures their lives with incredible grace, so much so that it brings to mind the effervescent films of Terrence Malick. But as impressive as the camera work can be, the details in Rich Hill sting.
Anna Kendrick was good in Drinking Buddies, but she’s better in Happy Christmas. This time, in another work of director Joe Swanberg, she plays an infectiously bubbly, if irresponsible, 27-year-old named Jenny, who’s moved to Chicago after breaking up with her boyfriend. She stays in the Windy City with her brother (played by Swanberg), and the film focuses on her struggle to balance her youthful energy with the realpolitik of growing up. And despite what the title suggests, the film’s not really about Christmas.
Mood Indigo, the latest from French director Michel Gondry — Eternal Sunshine of the Spotless Mind, The Science of Sleep — kicks off as a whimsical, surreal Parisian love story before falling, like an autumn leaf, into a melancholy look at aging, death and possibility of fate. The Paris of Gondry’s imagination is remarkable. It’s a quasi-steampunk, sci-fi wonderland with bizarre inventions: keyboard instruments that mix cocktails, flying cloud cars and alarm clocks that scurry up walls, like spiders. Those familiar with Gondry’s work will recognize his flair for fantastical production, of which he is an undeniable master. For those unfamiliar, think of him as a Gallic Wes Anderson, but less of a perfectionist.
It’s unfortunate that this film had to go up against Boyhood. That 12-years-in-the-making, coming-of-age colossus is my most anticipated movie of the summer, and it comes out the same weekend as Hellion, which is also a film about growing up. It’s also unfortunate that Hellion is a bit hit-or-miss.
To say something is seriously wrong with the cost of college – and mountain of debt piling atop the backs of America’s young people – is to state the obvious. Andrew Ross, the director of Ivory Tower, understands this. Instead of just saying “Guys, we’re in a hell of a pickle here,” his documentary gives us a road map as to how we got to this place and tries to decipher, through the fog of unrest and a forest of blinking technological light bulbs, what our possible options are to move forward. Don’t get me wrong, though: Ross doesn’t hint at a savior. The reason, after all, this is such a big mess is that no one has the knowledge, or will, to fix it. Still, it’s a given things are bound to change pretty soon. Everyone, it seems, agrees on that.
Relentless, thoughtful and weirdly surprising: “Snowpiercer” is a twisty, sci-fi rollercoaster that’s tough to pin down and just as hard to forget. South Korean director Joon-ho Bong channels a dystopian world in the somewhat comic style of Terry Gilliam’s Brazil but swaps out the political satire for action and allegory. The result is a tonic for those bored of CGI spectacles and a top-shelf option for the holiday weekend.