Critic Reviews

What this predictable tale lacks in surprises it more than makes up for in charm, good music and the indelible performances of Alessandro Nivola and Abigail Breslin as father and child.

Although not exemplary, Janie Jones at least manages to give its tired scenario a sense of legitimacy.

A compelling and unpretentious indie built around two wonderfully layered performances and straightforward storytelling. Give it a listen.

Contrivances aside, though, Janie Jones is one of the more realistic depictions of what the rock 'n' roll lifestyle is really like.

With Ethan and Janie sharing folkie duets, it has a certain small, wan charm, like a father-daughter gloss on "Once." Breslin is a clear-eyed delight.

Nivola and Breslin make a terrific mismatched pair in a film that often resembles a mash-up of "Crazy Heart" and Sofia Coppola's "Somewhere," which may account for why it too often feels derivative and contrived.

It feels mostly authentic until a contrived ending that leaves a saccharine taste.

An earnest tale about a faded rock star who discovers he has a teenaged daughter and takes her on the road, Janie Jones follows a predictable path and despite decent performances it does not catch fire.

There's never any doubt where the picture is headed. If it finally achieves a modicum of poignancy, the impact surely would have been greater if the whole felt fresher.

First thing to get out of the way: No, David M. Rosenthal's third feature, Janie Jones, has nothing to do with the famous song by the same name that opens the Clash's self-titled 1977 debut album. Perhaps that might have made this film far more interesting film it is.