As both director and performer, Waititi is on top form. Such gambles are worth taking even if you believe the gambler is headed for the breadline. Jojo Rabbit has little to say about any of the things it dredges up, beyond the obvious. I’m perfectly willing to concede that the film may come across as gauche in the coming years, but in November 2019—as an irreverently comic middle finger to idiotic, irrational tribalism—wow, does it feel good. Jojo Rabbit’s script isn’t emotionally complex enough to address the cruel realism of its world, and as the bleakness continues, the jokes fall flatter and flatter. This is a dark satire that finds a way to make a case for understanding. But he’s legitimately breaking new ground. It’s Waititi’s ability to balance unassailably goofy moments with an acknowledgment of real-life horrors that makes the movie exceptional. This is either the worst time for a movie like Jojo Rabbit or the best time. It’s oddly safe, given the subject matter, and the humour is similarly sanitised. This “Rabbit” is maybe just a little too cute, and a little too friendly. The film doesn’t lack for audacity, or ultimate purpose — it’s against hate and in favor of love. ... Rather than being bracing or dangerous, this comedy ends up feeling a little too safe, a little too scattered, and a little too inconsequential. © 2020 METACRITIC, A RED VENTURES COMPANY. The film is a little too sprightly to land any heavy punches — it’s more of a comedy with satirical elements than a true satirical tale.

But the adaptation isn’t funny enough to sustain the style, which owes an overt debt to Mel Brooks and amounts to Springtime for Hitler Youth. Set to an anachronistic pop soundtrack and an eye-poppingly attractive production design that would be right at home in a Wes Anderson movie, this is a film that dares you not to enjoy its material pleasures, even as you wonder if you should be laughing quite so hard at the jokes. Strikes just the right balance between comedy, tragedy, and drama, the result being a very funny WWII film that nevertheless carries an incredibly important message about the here and now.

But he’s legitimately breaking new ground. The problem with Waititi’s approach, not unlike those faced by Roberto Benigni 22 years ago when he made the divisive "Life Is Beautiful," is perfecting the tonal shifts. Breathtakingly risky but valid under scrutiny ... Jojo Rabbit isn’t perfect; sometimes it strains to reconcile Waititi’s more relaxed beats (“Let everything happen to you,” is a line from poet Rainer Maria Rilke that gets big play) with his visual fussiness. Nothing in this film feels gratuitous and the tonal shift in the film will hit you like a ton of bricks. Call it a noble failure. Believe it or not, the “Hitler Comedy” plays it too safe. Whether you want to see it is something you may not be able to decide until halfway through. The reason Waititi’s films (yes, even “Thor: Ragnarok”) are so resonant is that they’ve always placed love and humanism at the heart of their humor. Waititi injects enough heart and wit into this enterprise to make a case that artists like him should at least be trying to find creative ways to educate new generations about the horrors of the past. Though it dabbles with the horror of the Third Reich it never examines their worst atrocities ... And that perhaps, is too careless in today’s world of a rising far right and stealth dictatorships. It’s like a Wes Anderson movie set during the Third Reich. Waititi infuses a level of humanity into WWII without blindly forgiving those responsible, nor hiding behind the guise of good guys in bad situations, or allowing even a 10-year-old boy to get away with hate without swift retribution and thorough self-examination. As much as it makes you laugh, Waititi’s must-watch effort is a warm hug of a movie that just so happens to have a lot of important things to say. Absurdist humor abounds throughout a story whose underlying themes echo Elvis Costello’s eternal question, “What’s so funny ’bout peace, love, and understanding?” even as corpses dangle from a foregrounded gallows. He plays with your emotions to heighten the impact of the story’s message. ALL RIGHTS RESERVED.

In the uncomfortably funny, unapologetically insensitive, cheerfully outrageous Jojo Rabbit, writer-director Waititi (“Thor: Ragnorak”) delivers a timely, anti-hate fractured fairy tale AND turns in hilarious work as Adolf Hitler, imaginary friend to a 10-year-old German boy near the end of World War II. But if you’re looking for giddy escapism, Bowie tunes and an unapologetic good time with a side order of remembrance for of WW2, then you’ll have as much fun as the cast clearly had making this. Borat Subsequent Moviefilm: Delivery of Prodigious Bribe to American Regime for Make Benefit Once Glorious Nation of Kazakhstan, The Raging Wrath Of The Easter Bunny Demo. Neither the masterpiece nor the atrocity it will be described as from here on out by fans and critics alike, Jojo Rabbit is pretty funny, mostly fine, and (perhaps worst of all) well-made.

Although I don’t love Jojo Rabbit, I love that it exists. Waititi is incapable of dealing with the twin horrors of oppression and indoctrination beyond cheap-seats sentimentality and joke-making. Waititi masterfully balances the film’s comedy with the seriousness of the subject. It’s no surprise that the film should so often stumble and trip, yet I would sooner watch it again and sort through my mixed feelings about it than revisit, say, the nullity of “Joker.” There is genuine zest in the unease of Jojo Rabbit, and it’s weirdly convincing as a portrait of childhood under surreal strain. Taika Waititi’s self-proclaimed “anti-hate satire” “Jojo Rabbit” exists in service of a single idea, a notion so desperately idealistic that it lands somewhere between naïveté and disingenuousness. I lean toward the latter. I suspect the strangely good-natured feel of the film will win the hearts of many viewers, but my own head remained too muddled by its uneven and oddly indecisive approach to embrace whatever quirky virtues it may possess. Jojo Rabbit, a very nice but thin crowd-pleaser about love conquering all, bills itself as an “anti-hate satire.” But true satire challenges and provokes. In the early going, though, Waititi manages to keep the tone light and the humor surreal enough to avoid too much association with the real world. Waititi’s witty script and colorful supporting role as Adolf Hitler are the obvious comedic highlights of Jojo Rabbit. Best of 2018: Film Awards and Nominations, Music title data, credits, and images provided by, Movie title data, credits, and poster art provided by. A twisted piece of grandly entertaining provocation.

Jojo Rabbit is a beautiful fairy tale of a story. It's set amid one of the most horrific periods of world history, but the gas chambers and concentration camps are nowhere to be seen. Jojo Rabbit works such tensions throughout: between laughter and groans, between emotion and sentimentality, between daring and bad taste. Taika Waititi’s most daring film isn’t his most successful. Taika Watiti takes a big, wild swing with 'Jojo Rabbit' — an audacious slice of Third Reich whimsy that almost definitely shouldn’t work as well as it does. But hate can be both worthy of ridicule and deadly serious, and for the most part Jojo Rabbit manages to thread that needle. But for the most part, Waititi and the cast, which is uniformly excellent, manage to make it work. It will find an audience that gets it. But among the tonal clashes there’s real hope, humanity, and no-bones-about-it Nazi-bashing at a time when that’s depressingly necessary. Free (& Subscription) Games for All Platforms: New & Upcoming, November Preview: 19 TV Shows & New Movies to Watch at Home. But the film only works because it manages to nail its balance of tones. The humor is so audacious and the psychological insight at times so startling that it’s hard not to be dismayed when an easy and familiar dose of comfort is supplied at the end. It will find an audience that gets it. The cartoonishness of it, while amusing at the outset, doesn’t wear well as matters deepen and progress. Jojo Rabbit excels with at least a sincerely attempted – if not exactly precise – balance of humour and horror, absurdity and tragedy. But as his story devolves into melodrama, the comedy curdles. Read full review As satire it’s a dismal dereliction of duty; as comedy, a one-note joke that wears out fast. It’s far from the disaster it could have been given the tonal tightrope it walks, but it’s also closer to a misfire than we all hoped it would be. Yes, the tone is a tricky balance that sometimes almost gets away from Waititi — there are some laugh-out-loud moments alongside some scenes of harrowing sadness.

An awkward, uneven film, with writer-director Taika Waititi conjuring some touching moments, but unable to pull off the magic act this "Rabbit" trick requires. Full Review Yes, Waititi’s sugary fantasy unearths an endearing quality in the most unlikely places. Waititi ... finds such strange, sweet humor in his storytelling that the movie somehow maintains its ballast, even when the tone inevitably (and it feels, necessarily) shifts. Jojo Rabbit isn’t perfect; sometimes it strains to reconcile Waititi’s more relaxed beats (“Let everything happen to you,” is a line from poet Rainer Maria Rilke that gets big play) with his visual fussiness. It’s a well-meaning idea that never quite succeeds on the levels of either comedy or drama.

... And yet it’s not as if it’s a terrible movie; it’s actually a studiously conventional movie dressed up in the self-congratulatory “daring” of its look!-let’s-prank-the-Nazis cachet. Jojo Rabbit succeeds even with a high degree of difficulty, given the sensitivities of the subject matter, the emotional undercurrent of a mother’s devotion to her son and the breaking down of artificial walls to let love in. “Jojo,” despite going to some very dark places for its laughs, is no exception. Blazingly and brilliantly over the top, Jojo Rabbit’s total dismissal of subtlety is its most ferocious ally and, only occasionally, its most frustrating foe in the war against hate.

Waititi adopts a tone that’s wild enough to accommodate all possibilities, so that even while we’re laughing, we’re in a state of anxiety. This one offers free hugs. You’ll laugh, you’ll cry — sometimes at the same time. But love or hate Jojo Rabbit, it’s damn near impossible to shake. Johannson has never played a sweeter character on the screen, and she delivers an endearing performance. At the end of Jojo Rabbit, you’re just left wondering what the point of it all was. There are no insights to be had – and no laughs. Jojo Rabbit doesn’t lack for ambition or sincerity of purpose — which only makes it more disappointing that the film proves to be so meagre. Its so-called audacity smacks of calculation and emotional cowardice. Waititi’s World War II satire is both a magic trick and a high-wire act – the filmmaker keeps pulling rabbits out of his hat while balancing comedy, kindness, and often shocking darkness. His difficulties in this area can create a whiplash effect that results in the overall production feeling a little “off.”. Erratic but engaging, going in and out of daring, the film’s mixture of black humor and unashamed sentimentality is not always as good as its best parts. The end result is a heartfelt, sweet, blackly comedic coming-of-age journey that tries to find hope in hopeless times. But in the process, it buries the awful truth. What Waititi thinks is shockingly audacious is in fact frustratingly timid, he opts for a gentle prod when maybe a punch would do. Let me add something in the movie’s favor. There’s no question this exuberantly directed coming-of-age tale — a peppy slapstick drama, if you can get your brain around that — is a sight to see.

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