Jonathan Levine's been working in a minor key so far as a filmmaker.
His first film is the still unreleased "All The Boys Love Mandy Lane," a determined twist on slasher formula and iconography, and he followed that up with the coming-of-age story "The Wackness," and in both cases, I've got a solid case of like. I think he's interesting, and it feels to me like he's warming up. That's not an insult, either. I think Rian Johnson is still warming up. I like "Brick," and I really like "The Brothers Bloom," but those aren't the movies he'll be known for. Those are still ahead. He's a guy who is going to keep getting better. You can see it in the way he grows from first to second film, and in the ambition of what he's doing. Levine is that kind of filmmaker. I look at his movies, and I can see that he's smart, that he thinks about what he's shooting, that there's a real heart in there. Those movies are genuinely told, sincerely meant, and even if I don't love them, I like what they represent, a filmmaker who's working towards something.