Search
Search results
BankofMarquis (1832 KP) rated The French Dispatch (2021) in Movies
Jan 4, 2022
Weak Stories Can't Support the STUNNING Visuals
Filmmaker Wes Anderson is an acquired taste. He is one of the most visually stunning filmmakers working today, but his films are often time difficult to grasp and can get lost in their own weirdness.
Such is the case with his latest effort THE FRENCH DISPATCH. It is a visually STUNNING film that you can turn the sound off and just drink in the images depicted on screen with your eyes - but the story these pictures tell was, unfortunately, not all that compelling.
Starring Bill Murray, Tilda Swinton, Frances McDormand, Jeffrey Wright and a whole bundle of known stars, THE FRENCH DISPATCH tells the story of a Sunday Newspaper insert called THE FRENCH DISPATCH (think PARADE MAGAZINE). The quirk of the FRENCH DISPATCH is that this insert in the Liberty, Kansas paper in the 1930’s(or so) focuses solely on the goings-on of the French town of Enui. Stories told in the flavor of the New Yorker.
So…this setup is just, really, an excuse to tell 3 different short stories and tie them together with an overarching theme - getting the French Dispatch ready to publish. A good enough excuse for a movie - provided that the 3 stories being told are interesting enough - which they are not (and therein lies the issue with this film).
Bill Murray is a congenial enough host of this party as the Editor of The French Dispatch. His character is the “through line” of this film and if you are going to anchor an anthology film with a character/actor, then Bill Murray is a pretty good anchor.
The first story, telling of a life-imprisoned person (Benicio Del Toro) who finds a muse (Lea Seydoux) and becomes a world famous artist, thanks to the efforts of his patron (Adrian Brody) is the best of the bunch. This story is written/narrated by a character played by Tilda Swinton and it is her performance that is the highlight of the film for me. Because of this narration - and because this is the best written/most interesting and best acted of the 3 stories (by Del Toro, Seydoux and Brody), I was excited as to where this film was going to go from here.
Unfortunately, that direction was down.
The 3rd story - narrated by a character played by Jeffrey Wright about a Police Commissioner’s son who is kidnapped is absurb - and almost succeeds when Anderson decides to animate the car chase - but ultimately isn’t quite as good as the first piece.
And then there is the middle part that stars Timothee Chalamet as a student that starts a rebellion. This part is written/narrated by a character played by Frances McDormand and while these 2 are “game” for what is given to them, the story is not compelling and, to be honest, a bit boring. This middle story (the longest of the 3 tales) is where the movie loses it’s footing.
And that’s too bad for Anderson - as is his custom - fills every frame with interesting pictures/visuals that are a marvel to look at and fills almost every minor role with some sort of major star looking to work with him. Almost the best part of this film was to spot the star in a cameo role. Willem DaFoe, Saoirse Ronan, Liev Schrieber, the “Fonz” himself, Henry Winkler, Cristoph Walz and Anderson “regulars” Jason Schwartman, Edward Norton and Owen Wilson (amongst others) all show up - briefly - to lend their talents to this absurdity.
Well worth checking out for the visuals, just don’t look for much in the way of plot or drama.
Letter Grade: B (did I mention that the visuals are STUNNING?)
7 stars (out of 10) and you can take that to the Bank(ofMarquis)
Such is the case with his latest effort THE FRENCH DISPATCH. It is a visually STUNNING film that you can turn the sound off and just drink in the images depicted on screen with your eyes - but the story these pictures tell was, unfortunately, not all that compelling.
Starring Bill Murray, Tilda Swinton, Frances McDormand, Jeffrey Wright and a whole bundle of known stars, THE FRENCH DISPATCH tells the story of a Sunday Newspaper insert called THE FRENCH DISPATCH (think PARADE MAGAZINE). The quirk of the FRENCH DISPATCH is that this insert in the Liberty, Kansas paper in the 1930’s(or so) focuses solely on the goings-on of the French town of Enui. Stories told in the flavor of the New Yorker.
So…this setup is just, really, an excuse to tell 3 different short stories and tie them together with an overarching theme - getting the French Dispatch ready to publish. A good enough excuse for a movie - provided that the 3 stories being told are interesting enough - which they are not (and therein lies the issue with this film).
Bill Murray is a congenial enough host of this party as the Editor of The French Dispatch. His character is the “through line” of this film and if you are going to anchor an anthology film with a character/actor, then Bill Murray is a pretty good anchor.
The first story, telling of a life-imprisoned person (Benicio Del Toro) who finds a muse (Lea Seydoux) and becomes a world famous artist, thanks to the efforts of his patron (Adrian Brody) is the best of the bunch. This story is written/narrated by a character played by Tilda Swinton and it is her performance that is the highlight of the film for me. Because of this narration - and because this is the best written/most interesting and best acted of the 3 stories (by Del Toro, Seydoux and Brody), I was excited as to where this film was going to go from here.
Unfortunately, that direction was down.
The 3rd story - narrated by a character played by Jeffrey Wright about a Police Commissioner’s son who is kidnapped is absurb - and almost succeeds when Anderson decides to animate the car chase - but ultimately isn’t quite as good as the first piece.
And then there is the middle part that stars Timothee Chalamet as a student that starts a rebellion. This part is written/narrated by a character played by Frances McDormand and while these 2 are “game” for what is given to them, the story is not compelling and, to be honest, a bit boring. This middle story (the longest of the 3 tales) is where the movie loses it’s footing.
And that’s too bad for Anderson - as is his custom - fills every frame with interesting pictures/visuals that are a marvel to look at and fills almost every minor role with some sort of major star looking to work with him. Almost the best part of this film was to spot the star in a cameo role. Willem DaFoe, Saoirse Ronan, Liev Schrieber, the “Fonz” himself, Henry Winkler, Cristoph Walz and Anderson “regulars” Jason Schwartman, Edward Norton and Owen Wilson (amongst others) all show up - briefly - to lend their talents to this absurdity.
Well worth checking out for the visuals, just don’t look for much in the way of plot or drama.
Letter Grade: B (did I mention that the visuals are STUNNING?)
7 stars (out of 10) and you can take that to the Bank(ofMarquis)
Neon's Nerd Nexus (360 KP) rated Jojo Rabbit (2019) in Movies
Jan 6, 2020 (Updated Jan 6, 2020)
F*ck Off Hittler!
Jo Jo Rabbit while by no means a bad movie its just one that I think would of worked better as a short instead. Think Son Of Rambow meets Wes Anderson and Jo Jo sits somewhere in between, its not bad but its also not greatness either. Containing way more serious drama and a much darker tone than the trailer has you believe what I found most interesting of all were the bleakest parts of the story which hit home way more than the comedy side. I just felt the humour took away from the films more serious messages of manipulation and the mind poluting of the naive. A good job is done of showing how fragile, young and inocent minds are easily lead astray/influenced by propaganda, stories, lies, the spread of hatred and how the excitement of holding a weapon, fighting in a war or wearing a uniform almost takes away from the overall bigger picture for them as children. Most of these kids see probably grew up without a dad as a role model so seeing hittler praised by all, hearing cool fables about him and seeing him on tv/posters to them at that age is almost like how kids are today with superheros, then to think thats actually what probably happened sends chills up your spine in horror. Sadly these scenes are always dampened with comedy killing the impact of them for me and while I do get what type of film its going for I think id rather of just seen a movie on the darker stuff. Acting is great especially by the boy playing Jo Jo however accents do slip constantly all round again breaking the illusion. Couple this with a middle act that I really struggled with losing intrest frequently and looking at my watch. While it does have the heart and certainly the depth in places I cant help but feel really let down by this movie and sadly I left wanting more. Far too serious for teens and not serious enough for adults Jo Jo Rabbit is an alright watch with definitely a few good messages at its muddled heart 'love will always defeat hate' and 'even if you are ugly on skin you still can be lovely from within' so I guess its not all bad.
BankofMarquis (1832 KP) rated Amsterdam (2022) in Movies
Nov 21, 2022
Weak First Half Gives Way To Strong Second Half
There are certain Directors working today that gain such a reputation that most Major Movie Stars clamor to be in their films - no matter how big (or small) their part is. Quentin Tarantino, Wes Anderson and Christopher Nolan all come to mind. And, for some reason, David O. Russell is in that camp as well.
The latest film from this cinematic auteur, AMSTERDAM, is jam-packed with stars from Christian Bale to John David Washington to Margot Robbie, Robert DeNiro, Zoe Saldana, Rami Malek, Andrea Riseborough, Chris Rock, Michael Shannon, Michael Myers, Timothy Olyphant, Any-Taylor Joy and even Taylor Swift show up to play part in this drama/thriller/comedy that takes a real life event and gives it the David O. Russell touch.
And…what is the David O. Russell touch? It is - for better or for worse - a skewed perspective of the goings-on in the film, commenting on the action while driving a narrative forward. On the one hand, he is liked by many actors for he let’s them improvise and work through their performances. However, on the other hand, if he is not getting what he wants, he is also known as a antagonistic Director as he has had on-set feuds with George Clooney, Lilly Tomlin and Amy Adams. But…on the other hand…he has been nominated for Best Director 3x and quite a few of his actors (Bale, Adams, Cooper, Jennifer Lawrence, etc.) have been nominated for an Oscar.
For AMSTERDAM the film’s tone and intention meander for the 1st half of the movie - as do the performances - before settling into a crackerjack thriller/murder-mystery/espionage film.
And that’s too bad for many will be turned off by the 1st half - the meandering is detrimental to the audience’s enjoyment - it feels like a series of “acting scenes” and not a coherent grouping of scenarios leading to a plot. This will turn many off - and will have them turning off the film - before it settles down and becomes good.
As is often the case with Russell’s films, the performances are good (Washington), better (Robbie) and best (Bale, channelling his inner Peter Faulk) while the other actors support the 3 leads in surprising ways. If nothing else, see this movie to watch all of these wonderful performers plying their craft. Of course, you’ll be saying to yourself “that’s wonderfully acted” for you won’t be immersed into the people, emotions or the plot at the beginning.
And that is Russell’s issue. If he could have settled on the tone and focus of the 2nd half of the film in the first half, he’d have himself another Oscar contending film. But, as it were, it’s an interesting curiosity - one that will have you entertained for a few hours, but will leave you scratching your head longing for “what could have been”.
Letter Grade: B (“C” for the first half, “A” for the 2nd half)
7 stars (out of 10) and you can take that to the Bank(ofMarquis)
The latest film from this cinematic auteur, AMSTERDAM, is jam-packed with stars from Christian Bale to John David Washington to Margot Robbie, Robert DeNiro, Zoe Saldana, Rami Malek, Andrea Riseborough, Chris Rock, Michael Shannon, Michael Myers, Timothy Olyphant, Any-Taylor Joy and even Taylor Swift show up to play part in this drama/thriller/comedy that takes a real life event and gives it the David O. Russell touch.
And…what is the David O. Russell touch? It is - for better or for worse - a skewed perspective of the goings-on in the film, commenting on the action while driving a narrative forward. On the one hand, he is liked by many actors for he let’s them improvise and work through their performances. However, on the other hand, if he is not getting what he wants, he is also known as a antagonistic Director as he has had on-set feuds with George Clooney, Lilly Tomlin and Amy Adams. But…on the other hand…he has been nominated for Best Director 3x and quite a few of his actors (Bale, Adams, Cooper, Jennifer Lawrence, etc.) have been nominated for an Oscar.
For AMSTERDAM the film’s tone and intention meander for the 1st half of the movie - as do the performances - before settling into a crackerjack thriller/murder-mystery/espionage film.
And that’s too bad for many will be turned off by the 1st half - the meandering is detrimental to the audience’s enjoyment - it feels like a series of “acting scenes” and not a coherent grouping of scenarios leading to a plot. This will turn many off - and will have them turning off the film - before it settles down and becomes good.
As is often the case with Russell’s films, the performances are good (Washington), better (Robbie) and best (Bale, channelling his inner Peter Faulk) while the other actors support the 3 leads in surprising ways. If nothing else, see this movie to watch all of these wonderful performers plying their craft. Of course, you’ll be saying to yourself “that’s wonderfully acted” for you won’t be immersed into the people, emotions or the plot at the beginning.
And that is Russell’s issue. If he could have settled on the tone and focus of the 2nd half of the film in the first half, he’d have himself another Oscar contending film. But, as it were, it’s an interesting curiosity - one that will have you entertained for a few hours, but will leave you scratching your head longing for “what could have been”.
Letter Grade: B (“C” for the first half, “A” for the 2nd half)
7 stars (out of 10) and you can take that to the Bank(ofMarquis)
Phillip McSween (751 KP) rated Knives Out (2019) in Movies
Mar 6, 2020
Consistent Blast
In the Whodunit drama, detective Benoit Blanc (Daniel Craig) has to uncover who killed famous author Harlan Thrombey (Christopher Plummer).
Acting: 10
I can’t speak enough about the amazing performances that made this movie come alive. I honestly don’t know where to start or who had the best chops because they were all so wonderful. Jamie Lee Curtis has always been one of my favorite actresses and her role didn’t disappoint here. She’s Linda Robinson who serves as somewhat of a matriarch in the family. She delivers her lines with such perfect timing and such fluid grace that it’s hard not to love her character. I also appreciated Jaeden Martell’s role in the movie. I can only imagine how hard it is as the youngest cast member when you have all these heavy-hitting stars beside you, but he definitely held his own by putting on a performance here that was even better than his role in It, in my opinion.
Beginning: 10
You are immediately thrown into this story from jump like you are springboarding into the sky. The intrigue is immediate which gave me an instant feeling that I was going to like this movie. It’s a perfect setup for what is to come.
Characters: 10
Nothing short of spectacular. Again, where do I start? I love that every single one of these characters in the movie have a rich story that’s connected to the deceased. There is also some kind of growth (whether negative or positive) with each character which is hard to juggle when you’re talking about managing runtime as well as screentime. I could pinpoint one specific role, but I loved each and every single one of them. That’s not a very common thing to say.
Cinematography/Visuals: 10
Director Rian Johnson really hits home on the visuals with an interesting blend of vivid colors and bleak imagery. I have a great appreciation with how the movie was ultimately cut. It’s a film that doesn’t rush, but takes its time, really capturing special dramatic moments. It almost feels like a Wes Anderson meets Stephen King type of cinematic adventure.
Conflict: 10
Entertainment Value: 10
From shock value to mystery, Knives Out keeps you on your toes start to finish. It’s funny, it’s smart, and, most importantly, it’s original. This kind of movie has been done dozens of times before and this one is, by far, the most unique of the bunch. It truly is in a class of its own.
Memorability: 10
Pace: 9
With a 130-minute runtime, it’s only natural that there would be a slip-up in pace here and there. Fortunately, the slowdowns are very brief and barely noticeable. I can only think of one or two moments where I thought, “They could’ve cut that.” The momentum is pretty incredible otherwise.
Plot: 10
Resolution: 10
Ends strongly, yet smoothly with a finite resolution. I found it funny that the ending was actually a subtle knife into the hearts of the antagonists. The conclusion is a beautiful whisper.
Overall: 99
Knives Out is hilarious yet touching at the same time. With an original storyline, consistent pace, and brilliant characters the movie succeeds on just about every level. It was both refreshing and unexpected to watch a movie this grand.
Acting: 10
I can’t speak enough about the amazing performances that made this movie come alive. I honestly don’t know where to start or who had the best chops because they were all so wonderful. Jamie Lee Curtis has always been one of my favorite actresses and her role didn’t disappoint here. She’s Linda Robinson who serves as somewhat of a matriarch in the family. She delivers her lines with such perfect timing and such fluid grace that it’s hard not to love her character. I also appreciated Jaeden Martell’s role in the movie. I can only imagine how hard it is as the youngest cast member when you have all these heavy-hitting stars beside you, but he definitely held his own by putting on a performance here that was even better than his role in It, in my opinion.
Beginning: 10
You are immediately thrown into this story from jump like you are springboarding into the sky. The intrigue is immediate which gave me an instant feeling that I was going to like this movie. It’s a perfect setup for what is to come.
Characters: 10
Nothing short of spectacular. Again, where do I start? I love that every single one of these characters in the movie have a rich story that’s connected to the deceased. There is also some kind of growth (whether negative or positive) with each character which is hard to juggle when you’re talking about managing runtime as well as screentime. I could pinpoint one specific role, but I loved each and every single one of them. That’s not a very common thing to say.
Cinematography/Visuals: 10
Director Rian Johnson really hits home on the visuals with an interesting blend of vivid colors and bleak imagery. I have a great appreciation with how the movie was ultimately cut. It’s a film that doesn’t rush, but takes its time, really capturing special dramatic moments. It almost feels like a Wes Anderson meets Stephen King type of cinematic adventure.
Conflict: 10
Entertainment Value: 10
From shock value to mystery, Knives Out keeps you on your toes start to finish. It’s funny, it’s smart, and, most importantly, it’s original. This kind of movie has been done dozens of times before and this one is, by far, the most unique of the bunch. It truly is in a class of its own.
Memorability: 10
Pace: 9
With a 130-minute runtime, it’s only natural that there would be a slip-up in pace here and there. Fortunately, the slowdowns are very brief and barely noticeable. I can only think of one or two moments where I thought, “They could’ve cut that.” The momentum is pretty incredible otherwise.
Plot: 10
Resolution: 10
Ends strongly, yet smoothly with a finite resolution. I found it funny that the ending was actually a subtle knife into the hearts of the antagonists. The conclusion is a beautiful whisper.
Overall: 99
Knives Out is hilarious yet touching at the same time. With an original storyline, consistent pace, and brilliant characters the movie succeeds on just about every level. It was both refreshing and unexpected to watch a movie this grand.
Chris Sawin (602 KP) rated The Brothers Bloom (2009) in Movies
Jun 19, 2019 (Updated Jun 22, 2019)
Stephen and Bloom are brothers who seem to bounce from foster home to foster home for whatever reason imaginable. That is until the day Stephen sets in motion his first con. After the con is executed exactly as planned, the brothers get their first taste of success only to quickly have it taken away from them. The wheels were already turning though as destiny had knocked on their door. Now, twenty five years later, The Brothers Bloom are arguably the two best con men in the world. While Stephen seems to enjoy pushing himself to create the perfect con, Bloom wants more out of life. He's sick of being a character his brother wrote and wants an unwritten life. They decide to do one last job involving a beautifully charming heiress, Penelope, that takes it upon herself to collect hobbies. Stephen plans on everything except for Bloom falling in love with her. So now, a con that was planned to take them around the world has turned into a romantic adventure that has an ending even Stephen couldn't see coming.
Rian Johnson created a great modern day noir film (which was also his debut as a director) with Brick that was really enjoyable. When the word about The Brothers Bloom started making its rounds, it immediately reeled me in. Johnson's style in The Brothers Bloom seems to almost mimic Wes Anderson's at times as several scenes (especially the first ten minutes or so) have a similar feel that seem to be shot in the same way you'd see in an Anderson film. The film also has a Kiss Kiss Bang Bang feel to it with how colorful every shot is. The tone was similar in both films as they both had humor as an underlying tone amongst a dramatic adventure revolving around crime. This film is just a real pleasure to look at. The cinematography seems to tell a story all on its own as every shot seems to be done in a unique way and everything is so vividly colorful.
Every factor of the film is strong. The story isn't entirely original as we've all heard con men stories before, but the way the story unfolds and the development of the characters involved makes it a new experience. The dialogue is also top notch. Nothing stuck out as being cheesy or hokey. Every line spoken was either witty, charming, or something you'd expect to hear in everyday conversation. So it was realistic and natural. The entire cast has to be the film's strongest point though. There doesn't really seem to be a character that's wasted or isn't used to their full potential. Rachel Weisz does steal the show though. Her character is so charismatic, outgoing, and eccentric that she just steals every scene she's a part of.
The Brothers Bloom is one of the best films to be released this year, which is a shame since it seems to have a limited release. It offers something for everybody looking for a good time at the movies whether it's an adventure that will take them around the world, romance between two of the central characters, an oddball character that's great comedic relief, the development of both brothers as characters as their crime of swindling people as con men causes drama, and even plenty of explosions to satisfy the action junkie. The conclusion of the film is both heartwarming and heartbreaking, as well. The Brothers Bloom will probably be overlooked by the many assured blockbusters coming out this summer, but it comes highly recommended from me and should be on everyone's must see list.
Rian Johnson created a great modern day noir film (which was also his debut as a director) with Brick that was really enjoyable. When the word about The Brothers Bloom started making its rounds, it immediately reeled me in. Johnson's style in The Brothers Bloom seems to almost mimic Wes Anderson's at times as several scenes (especially the first ten minutes or so) have a similar feel that seem to be shot in the same way you'd see in an Anderson film. The film also has a Kiss Kiss Bang Bang feel to it with how colorful every shot is. The tone was similar in both films as they both had humor as an underlying tone amongst a dramatic adventure revolving around crime. This film is just a real pleasure to look at. The cinematography seems to tell a story all on its own as every shot seems to be done in a unique way and everything is so vividly colorful.
Every factor of the film is strong. The story isn't entirely original as we've all heard con men stories before, but the way the story unfolds and the development of the characters involved makes it a new experience. The dialogue is also top notch. Nothing stuck out as being cheesy or hokey. Every line spoken was either witty, charming, or something you'd expect to hear in everyday conversation. So it was realistic and natural. The entire cast has to be the film's strongest point though. There doesn't really seem to be a character that's wasted or isn't used to their full potential. Rachel Weisz does steal the show though. Her character is so charismatic, outgoing, and eccentric that she just steals every scene she's a part of.
The Brothers Bloom is one of the best films to be released this year, which is a shame since it seems to have a limited release. It offers something for everybody looking for a good time at the movies whether it's an adventure that will take them around the world, romance between two of the central characters, an oddball character that's great comedic relief, the development of both brothers as characters as their crime of swindling people as con men causes drama, and even plenty of explosions to satisfy the action junkie. The conclusion of the film is both heartwarming and heartbreaking, as well. The Brothers Bloom will probably be overlooked by the many assured blockbusters coming out this summer, but it comes highly recommended from me and should be on everyone's must see list.
BankofMarquis (1832 KP) rated Jojo Rabbit (2019) in Movies
Jan 15, 2020
Inventive, funny and poignant
Writer/Director/Actor Taika Waititi is one of the most original voices working in Film/Television today. He skewered the Vampire flick (at the height of the Twilight craze) in WHAT WE DO IN THE SHADOWS. He revived the sagging Thor saga (and some would say the Marvel Cinematic Universe) with a comedic approach to the material in THOR: RAGNAROK, and now with his latest film, JOJO RABBIT, he takes his sense of humor to a subject that is difficult to satire - Adolph Hitler and life in Nazi Germany during WW II.
And, darn it all, if he doesn't pull it off.
As seen through the eyes of a zealous 10 year old Hitler Youth named JoJo, this film follows Jojo's journey from an idealistic follower of all things Nazi Germany to the harsher realities of the world - and what the 3rd Reich means to the world.
Young Roman Griffin Davis does a marvelous job as the titular character slowly changing his character from an all out innocent devotion to Hitler (his imaginary friend as played by Waititi) to a somewhat less innocent soul. His journey is at the heart of this film and he is a winning personality to follow along with. I was drawn into his struggles and was rooting for him to "come to his senses" throughout the course of this film.
Helping him in this journey is his Mother, played in an Oscar nominated turn by Scarlett Johannson. This character has an idealism all of her own and is willing to let her child "get there in his own time". It is a strong turn by Johannson...but Oscar nominated worthy? I'm not sure.
Also joining in for fun, frolic and (by turns) seriousness is the always great Sam Rockwell (Oscar winner for 3 BILLBOARDS...)as a disillusioned German Officer, comedian Stephen Merchant (LOGAN) in an unlikely mostly serious turn as a Nazi who likes to say "Heil Hitler" and Alfie Allen (GAME OF THRONES) as a devoted German soldier (at least devoted to Rockwell's character). Waititi also uses Rebel Wilson sparingly - as she should be used - as another devouted-to-the-cause German citizen.
Adding heft and pathos to this film is Thomasin MacKenzie (THE KING) in a role that would be a spoiler to say what she is playing, but...I WILL say that she needs to succeed in this role for the film to succeed (and she does).
Also, special notice needs to be made of the performance of cherubic Archie Yates (soon to be Kevin in the reboot of the HOME ALONE franchise) as JoJo's friend Yorki - who keeps getting knocked down and steps back up over and over again. I would LOVE to see the film that would have focused on this character (in addition to this film).
And, finally, there is the Writer/Director himself, Taika Waititi as JoJo's imaginary friend, Adolph Hitler. He is all fun loving and gay at the beginning becoming more and more frantic as the film progresses - mimicking the real life events that are happening around him.
Waititi's style in this film is reminiscent of Wes Anderson in such films as THE GRAND BUDAPEST HOTEL and MOONRISE KINGDOM and this works well here, giving this film more of a "fable" than a "realistic" look - and that is important to help set the tone for the events that follow. Waititi has a sure hand on the material (that he wrote) as the Director. He knows the tone he wants to strike and knows how to get there. He is nominated for Adapted Screenplay for his script (deservedly so) and was NOT nominated for Best Director - but his work in this area is just as good.
I did not know what to expect from this film when I walked into it, and I was more than pleasantly surprised. Give this little comedy/drama a try - I think you will be glad you did.
Letter Grade: A
9 stars (out of 10) and you can take that to the Bank(ofMarquis)
And, darn it all, if he doesn't pull it off.
As seen through the eyes of a zealous 10 year old Hitler Youth named JoJo, this film follows Jojo's journey from an idealistic follower of all things Nazi Germany to the harsher realities of the world - and what the 3rd Reich means to the world.
Young Roman Griffin Davis does a marvelous job as the titular character slowly changing his character from an all out innocent devotion to Hitler (his imaginary friend as played by Waititi) to a somewhat less innocent soul. His journey is at the heart of this film and he is a winning personality to follow along with. I was drawn into his struggles and was rooting for him to "come to his senses" throughout the course of this film.
Helping him in this journey is his Mother, played in an Oscar nominated turn by Scarlett Johannson. This character has an idealism all of her own and is willing to let her child "get there in his own time". It is a strong turn by Johannson...but Oscar nominated worthy? I'm not sure.
Also joining in for fun, frolic and (by turns) seriousness is the always great Sam Rockwell (Oscar winner for 3 BILLBOARDS...)as a disillusioned German Officer, comedian Stephen Merchant (LOGAN) in an unlikely mostly serious turn as a Nazi who likes to say "Heil Hitler" and Alfie Allen (GAME OF THRONES) as a devoted German soldier (at least devoted to Rockwell's character). Waititi also uses Rebel Wilson sparingly - as she should be used - as another devouted-to-the-cause German citizen.
Adding heft and pathos to this film is Thomasin MacKenzie (THE KING) in a role that would be a spoiler to say what she is playing, but...I WILL say that she needs to succeed in this role for the film to succeed (and she does).
Also, special notice needs to be made of the performance of cherubic Archie Yates (soon to be Kevin in the reboot of the HOME ALONE franchise) as JoJo's friend Yorki - who keeps getting knocked down and steps back up over and over again. I would LOVE to see the film that would have focused on this character (in addition to this film).
And, finally, there is the Writer/Director himself, Taika Waititi as JoJo's imaginary friend, Adolph Hitler. He is all fun loving and gay at the beginning becoming more and more frantic as the film progresses - mimicking the real life events that are happening around him.
Waititi's style in this film is reminiscent of Wes Anderson in such films as THE GRAND BUDAPEST HOTEL and MOONRISE KINGDOM and this works well here, giving this film more of a "fable" than a "realistic" look - and that is important to help set the tone for the events that follow. Waititi has a sure hand on the material (that he wrote) as the Director. He knows the tone he wants to strike and knows how to get there. He is nominated for Adapted Screenplay for his script (deservedly so) and was NOT nominated for Best Director - but his work in this area is just as good.
I did not know what to expect from this film when I walked into it, and I was more than pleasantly surprised. Give this little comedy/drama a try - I think you will be glad you did.
Letter Grade: A
9 stars (out of 10) and you can take that to the Bank(ofMarquis)
Kirk Bage (1775 KP) rated Jojo Rabbit (2019) in Movies
Jan 22, 2021
Another favourite from the awards season that came with some strong acclaim from amongst friends and trusted reviewers, WWII satire Jojo Rabbit, from the likeable and unique mind of Taika Waititi, was always high on my list as a must see movie.
I have followed the Kiwi’s original output since way back, and always enjoyed his quirky sense of humour and childlike charm. Either Eagle vs Shark or The Flight of the Conchords would have been my first encounter; and by the time of Hunt for the Wilderpeople and Thor: Ragnarok I had become a tentative fan. Never entirely bowled over by his style and content in the same way as, say, Wes Anderson (to whom some compare his outlook on the creative world), and never rolling around on the floor in hysterics at his naivety and comedy of manners, nevertheless, I like the guy a lot.
So when I heard he had adapted a fantasy novel about Nazi Germany from the point of view of a child, and would be playing Hitler himself, I knew instantly where he would be pitching this. The idea of it being offensive in any way was not a concern or even a thought, and anyone that did react that way is just… ridiculous and deliberately missing the point for the sake of finding something to be outraged about.
Of course subjects of genocide, political repression and evil existing in the world should and must be treated with a sensitivity to a degree, and amongst the silly lampooning and most extreme moments of satire that care is evident. There are moments of real gravity and tenderness in the mix here, thanks in large to some wonderful performances from the adult actors, notably the ever reliable Sam Rockwell and the increasingly strong and impressive Scarlett Johansson, who picked up her second Oscar nomination for this, after Marriage Story ticked the box for true drama.
The film focuses and relies on young Roman Griffin Davis as the eponymous Jojo, a happy little boy who sees goodness and light in an ever darkening world around him. Waititi as director works well with kids, placing the idea of charm and likability above acting prowess per se. And that is both the strength and ultimate weakness of this premise. He is charming and likeable, and cute and sweet and very watchable, but his inexperience in front of the camera and ability to find a range of emotions is often tested beyond his tender years, and can therefore break the magic spell that is woven in the best scenes.
The humour itself also doesn’t always hit the mark. Sometimes it is merely amusing rather than something laugh out loud funny, much as an average Mel Brooks film always was. And that can lead to a feel of something uneven and rambling, as the story struggles to find what it really wants to say. In its final moments it does land on an overlying message that leaves you with a winning impression, and you leave feeling that you saw something you enjoyed, but not something you would unreservedly recommend to everyone. In fact if someone said they didn’t enjoy it, or get the joke at all, then I would respect that view.
Under a microscope of scrutiny it doesn’t hold up that well, and I wonder how a few years of distance will treat it, once our sensibilities shift again with time. There are a few moments when the heart of the film connects with it’s silly bone and resonates, but not nearly enough. I personally wanted more of that. But, sadly, whenever JoJo threatens to grow up it retreats back into childhood and shies away from commenting on anything serious or truly meaningful. But, of course, that is not the point. As an entertainment it is a wonderful, unique and lovely film. And that should really be all that it is judged by.
In conclusion, a curiosity I will look forward to watching again, but don’t think quite makes the grade as an instant classic. It only reinforced however how much I like Rockwell and Johansson, and will always be curious about what Waititi is up to next.
I have followed the Kiwi’s original output since way back, and always enjoyed his quirky sense of humour and childlike charm. Either Eagle vs Shark or The Flight of the Conchords would have been my first encounter; and by the time of Hunt for the Wilderpeople and Thor: Ragnarok I had become a tentative fan. Never entirely bowled over by his style and content in the same way as, say, Wes Anderson (to whom some compare his outlook on the creative world), and never rolling around on the floor in hysterics at his naivety and comedy of manners, nevertheless, I like the guy a lot.
So when I heard he had adapted a fantasy novel about Nazi Germany from the point of view of a child, and would be playing Hitler himself, I knew instantly where he would be pitching this. The idea of it being offensive in any way was not a concern or even a thought, and anyone that did react that way is just… ridiculous and deliberately missing the point for the sake of finding something to be outraged about.
Of course subjects of genocide, political repression and evil existing in the world should and must be treated with a sensitivity to a degree, and amongst the silly lampooning and most extreme moments of satire that care is evident. There are moments of real gravity and tenderness in the mix here, thanks in large to some wonderful performances from the adult actors, notably the ever reliable Sam Rockwell and the increasingly strong and impressive Scarlett Johansson, who picked up her second Oscar nomination for this, after Marriage Story ticked the box for true drama.
The film focuses and relies on young Roman Griffin Davis as the eponymous Jojo, a happy little boy who sees goodness and light in an ever darkening world around him. Waititi as director works well with kids, placing the idea of charm and likability above acting prowess per se. And that is both the strength and ultimate weakness of this premise. He is charming and likeable, and cute and sweet and very watchable, but his inexperience in front of the camera and ability to find a range of emotions is often tested beyond his tender years, and can therefore break the magic spell that is woven in the best scenes.
The humour itself also doesn’t always hit the mark. Sometimes it is merely amusing rather than something laugh out loud funny, much as an average Mel Brooks film always was. And that can lead to a feel of something uneven and rambling, as the story struggles to find what it really wants to say. In its final moments it does land on an overlying message that leaves you with a winning impression, and you leave feeling that you saw something you enjoyed, but not something you would unreservedly recommend to everyone. In fact if someone said they didn’t enjoy it, or get the joke at all, then I would respect that view.
Under a microscope of scrutiny it doesn’t hold up that well, and I wonder how a few years of distance will treat it, once our sensibilities shift again with time. There are a few moments when the heart of the film connects with it’s silly bone and resonates, but not nearly enough. I personally wanted more of that. But, sadly, whenever JoJo threatens to grow up it retreats back into childhood and shies away from commenting on anything serious or truly meaningful. But, of course, that is not the point. As an entertainment it is a wonderful, unique and lovely film. And that should really be all that it is judged by.
In conclusion, a curiosity I will look forward to watching again, but don’t think quite makes the grade as an instant classic. It only reinforced however how much I like Rockwell and Johansson, and will always be curious about what Waititi is up to next.