There is no doubt that the idea behind "Jonathan" is an intriguing one: one body, two personalities, each operating for half of the 24 hour cycle. There are many interesting directions a story like that could take. Unfortunately, this film hardly touches on any of them, instead setting up a pretty standard, run-of-the-mill love triangle formula, eschewing all the potential "good stuff".
For a basic plot summary, "Jonathan" tells the story of, well, Jonathan (Ansel Elgort) and John (also Elgort), a multiple-personality disorder situation. Jonathan's personality operates their body from 7 AM to 7PM, after which John takes over for the "night shift". When we are introduced to the duality, they seem to be coexisting nicely, leaving messages for each other as if they are friends or brothers. When John's new girlfriend (breaking the "rules of engagement" for their situation) Elena (Suki Waterhouse) complicates the strict scheduling, however, a rift emerges between the Johns that send them spiraling into conflict and potentially extinction.
I can give this film four stars because the basic idea is indeed interesting. Director Bill Oliver also gives the very basics (though no more) of character development and trying to probe the more interesting issues. The problem (and why I can't go any higher), though, is that by the end of the film it is nothing more than a simple love-triangle drama.
There were so many missteps or more interesting ways for the story to go:
-Jonathan/Jon view each other as brothers, yet only a brief scene two-thirds of the way through the film touches on that relationship angle. This needed to be done right up front to add character depth. As it is, it's tough to really feel for the dual personalities when for most of the film, they are portrayed as much as business partners as close relations.
-Viewers needed more of the "night Jon" perspective, as the entire film is told through the eyes of "morning Jonathan". I wanted to see more of Elgort's second performance, and not just on the recorded messages. Again, it's tough to feel for both parties when 98% of the time we are only truly shown one side of the story.
-The whole piece needed more conflict/action. Maybe one of the personalities could have pulled a bold move, or even some Parent Trap-esque swap shenanigans ensued. Alas, "Jonathan" plays everything pretty much right down the middle, never taking any risks or, in all honesty, creating dramatic moments whatsoever.
Overall, then, I consider "Jonathan" to be one of those great "idea films" that is mostly wasted in the execution. There are times when it failed to hold my full attention, not because the basic concept was bereft of substance but because the execution of it indeed was.
For a basic plot summary, "Jonathan" tells the story of, well, Jonathan (Ansel Elgort) and John (also Elgort), a multiple-personality disorder situation. Jonathan's personality operates their body from 7 AM to 7PM, after which John takes over for the "night shift". When we are introduced to the duality, they seem to be coexisting nicely, leaving messages for each other as if they are friends or brothers. When John's new girlfriend (breaking the "rules of engagement" for their situation) Elena (Suki Waterhouse) complicates the strict scheduling, however, a rift emerges between the Johns that send them spiraling into conflict and potentially extinction.
I can give this film four stars because the basic idea is indeed interesting. Director Bill Oliver also gives the very basics (though no more) of character development and trying to probe the more interesting issues. The problem (and why I can't go any higher), though, is that by the end of the film it is nothing more than a simple love-triangle drama.
There were so many missteps or more interesting ways for the story to go:
-Jonathan/Jon view each other as brothers, yet only a brief scene two-thirds of the way through the film touches on that relationship angle. This needed to be done right up front to add character depth. As it is, it's tough to really feel for the dual personalities when for most of the film, they are portrayed as much as business partners as close relations.
-Viewers needed more of the "night Jon" perspective, as the entire film is told through the eyes of "morning Jonathan". I wanted to see more of Elgort's second performance, and not just on the recorded messages. Again, it's tough to feel for both parties when 98% of the time we are only truly shown one side of the story.
-The whole piece needed more conflict/action. Maybe one of the personalities could have pulled a bold move, or even some Parent Trap-esque swap shenanigans ensued. Alas, "Jonathan" plays everything pretty much right down the middle, never taking any risks or, in all honesty, creating dramatic moments whatsoever.
Overall, then, I consider "Jonathan" to be one of those great "idea films" that is mostly wasted in the execution. There are times when it failed to hold my full attention, not because the basic concept was bereft of substance but because the execution of it indeed was.