Don Jon begins with an incredibly unsubtle montage of the sexualization of women. Though it makes a good point, it’s a lot like the rest of the movie– broad and lacking depth. Jon is not necessarily the whore with a heart. For the most part, he’s a douche and though the audience doesn’t need a protagonist to be likable, it doesn’t help when the rest of the movie plays it fairly by the numbers. That is until the third act, where Julianne Moore’s character takes things for an unsatisfying left turn that doesn’t work. Don Jon is an admirable effort for a directorial debut, but Levitt stands to make some progress at a writer before he can truly create something worthwhile.