It’s oddly safe, given the subject matter, and the humour is similarly sanitised. What Waititi thinks is shockingly audacious is in fact frustratingly timid, he opts for a gentle prod when maybe a punch would do.
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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.
Yes, Waititi’s sugary fantasy unearths an endearing quality in the most unlikely places. But in the process, it buries the awful truth.
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. 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.
Waititi is incapable of dealing with the twin horrors of oppression and indoctrination beyond cheap-seats sentimentality and joke-making.
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.
It’s like a Wes Anderson movie set during the Third Reich. ... 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.
A twisted piece of grandly entertaining provocation. ... This is a dark satire that finds a way to make a case for understanding.
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. ... Rather than being bracing or dangerous, this comedy ends up feeling a little too safe, a little too scattered, and a little too inconsequential.
The cartoonishness of it, while amusing at the outset, doesn’t wear well as matters deepen and progress.