JOJO RABBIT [Film Review]

This is that rarest of all cinematic treats: a veritable Tootsie Pop of a film. Say what? Basically this film is covered in a sweet candy coating of comedy which conceals its soft center of moral and altruistic drama. What’s more is that it skips sprightly through the fields of social commentary, absurdist realism, taught melodrama, and imaginary fantasy like a carefree child let loose in the wild. It is also the most gloriously fucked-up (in a really good way) coming of age film I’ve seen in a long, long, long time.
Writer/director Taika Waititi has unleashed a film that is not only teeming with wicked and whip-sharp black humor balanced by poignant moments of humanism, but one that also moves along at breakneck speed, is imbued with lush cinematography (thanks to Mihai Malaimare Jr.), and features a bonkers cast of characters.
Speaking of the latter, the assembled actors are 99% stellar, ranging from Scarlett Johansson’s incredibly mature turn as a mother trying to cope with the fascist system in which she is surrounded. I feel like this might actually be the most adult role she’s ever done and she shines. Sure, her character is imbued with a bit of that manic pixie dream girlishness, but she elevates that cliche, turning it into one of a cultured and wise woman who also happens to be a badass mama lion. Sam Rockwell, in a fantastic supporting role, literally steals the show every single scene that he’s in. And our main man Roman Griffin Davis (aka Jojo) is that rare child actor who eschews any precociousness in favor of just plain old solid acting; he’s one of the best youthful thespians I’ve seen onscreen in ages. Plus his comedic timing is damn near impeccable. Thomasin McKenzie as Elsa is sublime and Waititi  (a self professed “Polynesian Jew”) as Hitler is the supreme, off-the-nuts escapee from Foster’s Home For Imaginary Friends.
This isn’t to say that there aren’t a few casting hiccups, though. To wit, there’s Jojo’s schlubby second BFF (Archie Yates as Yorki). He feels like a forced inclusion, as if the filmmakers said “hey, we need the stereotypical awkward fat kid in this film”. His performance reminded me of Jonathan Lipnicki in Jerry Maguire; a child actor who provides comic relief in the form of a lisp, thick glasses, and a goofy smile  While he has a few key moments of witty dialogue, for the most part his line readings and acting come off stiff. Speaking of stiff and awkward presentation, let’s talk about Rebel Wilson. She essentially plays the adult counterpart to Yorki; awkward and yearning for acceptance. I’m sure this was intentional, but given the bravura performances of those around her, hers just seemed stilted. Also, I find that her deadpan and detached schtick is a one-trick pony that should be put out to pasture. For my taste,someone like Kate McKinnon would have been better suited to the part, but what do I know? These are but trifling quibbles that are easily forgotten because the rest of the movie is damn near seamless.
What about the story? Well, without giving too much away, it’s about a young boy involved with the Hitler Youth who begins to find his own voice and personality in a life during wartime. The first act is a gonzo rush of gut-wrenching hilarity; I laughed so hard during this section of the film that tears blurred my vision and I feared my loud guffawing would cause the usher to escort me out of the theater for disturbing my fellow movie watchers. The Second Act veers away from the over-the-top hijinks and can feel a mite long-in-the-tooth at times, but ultimately pushes through thanks to Johansson and Davis’ combined charisma. The third act combines all of the elements of the first two into a cohesive conclusion.  In short, the first act should have you crying from laughing non-stop, the second act should provide a momentary respite to catch your breath, and the third act should have you crying from its sheer combination of emotional sadness tempered with a patina of blissful joy . Oh, and the callback ending, while utterly predictable, is also one of the most moving and cool scenes ever committed to film; if it doesn’t at least send shivers down your spine then you ain’t human.
Other than Once Upon A Time In Hollywood, this is the best film I've seen this year and I would not hesitate to see it again.

Rating: 4.5 (out of 5)

RIYL:  Dangerous Lives of Altar Boys; Garden State; Swiss Army Man; Harold and Maude; If