Jojo Rabbit (2019)

The critic finds the audacious WWII comedy risky yet worthy, commending its child’s perspective, bold humor, and how it turns the central relationship into something endearing and ground-breaking.

The critic praises the film's witty and playful approach to its anti-hate satire, highlighting how it finds light in dark subject matter through whimsy and strong performances, especially from the young lead.

The review notes genuine zest in the film's unease and finds it weirdly convincing as a portrait of childhood under surreal strain. It stumbles at times but remains preferable to watch again than many other films.

The critic finds the film a tricky blend of farce, fantasy and drama that filters the banality and evil of the Third Reich through a child's consciousness. It is sharpest when it dares to be funny, painting a credible if cartoonish picture of an evil system without graphic imagery.

The critic describes an uneven comedy drama that stumbles between slapstick and sincerity but succeeds in injecting heart through the young cast, though its satirical elements remain largely toothless.

Waititi’s wacky anti-hate satire is divisive and sometimes grating in its contrasts, yet it remains touching thanks to strong central performances, especially from Johansson and the young lead.

Taika Waititi has threaded a risky but funny path with this sweet-tempered, zany farce about a boy with an imaginary Hitler friend. It is slightly hit-and-miss but succeeds in many ways.

The film has real heart and strong central performances from the young lead and supporting cast, but its tone often clashes between broad comedy and heavier drama.

The critic calls the satire erratic but engaging, with a mixture of black humor and sentimentality that is not always as good as its best parts. The fantasy Hitler is the best element, and certain sequences make viewers shake their heads and smile.

The critic finds the film a divisive Holocaust comedy that plays extreme Nazi views for laughs before twisting them for emotional effect. Sam Rockwell's resourceful comic turn as a Hitler Youth instructor is singled out for praise.

The tonal shifts fail to land, resulting in a film that is neither convincing drama nor effective spoof and comes across as consistently cute rather than offbeat.

The critic finds the gentle satire disappointing and meagre despite its ambition, noting that good intentions prove insufficient and the comedy feels too safe and inconsequential.

The review describes it as a feel-good hipster Nazi comedy that creates the illusion of danger while playing it safe, like a Wes Anderson movie set during the Third Reich. It lacks the courage of its own conventionality and uses defanged black comedy to make viewers feel good about feeling above a feel-good movie.

The critic calls it a staggeringly ill-conceived satire that fails to explore its premise meaningfully, resulting in a paper-thin effort lacking bite or comic insight beyond twee energy.

The critic strongly dislikes the film and finds its attempt to blend broad satire with Holocaust gravity unsuccessful and often obscene. He singles out the clumsy alternation between silliness and horror for criticism, comparing it unfavorably to Life Is Beautiful.

The critic finds the film a bland and misjudged Hitler-spoofy YA adventure that accentuates little-kid cuteness amid non-horror. It fails to attack evil or deliver laughs or insights.

The film is a feeble, one-note Nazi comedy that fails to land a single meaningful blow as satire and veers into sentimental tear-jerker territory.

The critic calls the film spectacularly wrongheaded and incapable of addressing oppression or indoctrination beyond cheap sentimentality and jokes. He singles out its shamelessly offensive platonic courtship plot and lack of genuine laughs for complaint.

Waititi expertly balances darkness and light in a heartfelt, sweet, blackly comedic coming-of-age story that finds hope in hopeless times. The performances, particularly from the young lead and supporting cast, bring the film's magic to life.

The critic finds that Taika Waititi succeeds admirably in taking the risky premise of a Nazi satire and delivering a film that amuses while reminding viewers of the idiocy and horrors of Hitler and his followers. He singles out the superb performance of child actor Roman Griffin Davis as Jojo for particular praise.

The film is an intensely anti-fascist satire that uses comedy to deliver an emotional punch and ridicule anti-Semitic thinking. It is clever, charming, laugh-out-loud funny and deeply humane, with standout performances especially from Roman Griffin Davis as Jojo.

The critic praises the film as hilarious and sweet, highlighting its use of comedy to diminish Nazis and its emotional depth through strong performances by young leads.

Wit and whimsy carry the film; praises the look, soundtrack, cast performances especially in comedy, but notes the narrative arc is predictable.

The critic concludes that Waititi has taken a risky premise and turned in a twisted piece of grandly entertaining provocation that pulls off Hitler jokes effectively. He singles out the film's dark satire and its ability to make a case for understanding as circumstances chip away at the protagonist's worldview.

As a Jewish critic, the reviewer feels verklempt; praises the film's ability to make one empathize with Elsa and think critically about beliefs, while acknowledging the discomfort of satirizing Nazis but ultimately seeing it as a success.

The critic finds it an enjoyable satire with good performances and laughs from the Hitler character, but notes it feels evanescent and unmoving compared to the historical horrors, though successful overall.

The film establishes a whimsical tone but loses consistency in the third act as serious elements clash with comedy. It ultimately offers sweetness and an idiotically hilarious Hitler, though some plot elements like friendship with Yorki are underdeveloped.

The satire is naively idealistic in suggesting that Nazis or haters can be redeemed through compassion, which the critic finds unconvincing and manipulative. While funny in parts and featuring strong performances from Johansson, the film's moral stance is seen as privileged and misguided.

The critic finds the film's approach to Nazism through a child's perspective problematic, noting it simplifies the horrors and relies on predictable emotional beats, making it enervating despite some strengths.