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Jojo Rabbit
Critic Rating
(read reviews)User Rating
- Germany,
- United States
- 2019
- · 108m
Director
Taika Waititi
Cast
Roman Griffin Davis,
Thomasin McKenzie,
Scarlett Johansson,
Taika Waititi,
Sam Rockwell,
Rebel Wilson
Genre
Comedy,
War,
Drama
Jojo Rabbit is about a young boy living during World War II. His only escapism is through his imaginary friend, an ethnically inaccurate version of Adolf Hitler, who pushes the young boy's naive patriotic beliefs. However, this all changes when a young girl challenges those views and causes Jojo to face his own issues.
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What are users saying?
Few films combine comedy and tragedy as well as Jojo Rabbit, creating a very different perspective on Nazi Germany than what is usually seen on the big screen. Taika Waititi shines in both the director's chair and as Jojo's imaginary friend Hitler, whose obvious differences from the actual Hitler emphasize how propaganda was used to influence the German youth at the time. While some of the characters clearly struggle to maintain their accents, the film's more absurdist take on the time period does well to cover up any discrepancies. Overall, Jojo Rabbit is an experience that will make you want to laugh, cry, dance, and then do it all over again.
'Jojo Rabbit' is one of those movies that exists in a strange limbo of thoroughly enjoying the sights and the whimsy presented on screen while having a hard time shaking the feeling that maaaaybe this is an inappropriate setting for it. The Holocaust is, after all, one of the most tragic and vile moments in the entire timeline of human history. At first, Hollywood gave us war films that were close to propaganda in how strongly they denounced Naziism in favor of patriotic American liberation. And then, starting with 'Schindler's List,' Hollywood gave us a litany of films that gave us the perspective of Jews and how unabashedly cruel and evil their treatment was. 'Jojo Rabbit' brings with it the immediate question: are we at the point where we can joke about the Holocaust? But usually, when people ask a question like that, they are asking if it is okay to make fun of horrific things in a self-gratifying and insensitive way, and I don't think that's what 'Jojo Rabbit' does. Satire treads a fine line between enlightening and dubious, and I personally believe that Waititi, despite all the showmanship he brings to the movie, has a fair amount of restraint that manages to keep the rodeo basically under control. Littering the ensemble of Nazi characters are buffoons, drunkards, bullies, and creeps, while Scarlett Johansson's character and nearly all the children are quirky but empathetic human beings, if naive at times. Most people today are aware of the unadulterated horror of the Holocaust, and yet not many are aware of how good people become complicit in evil societies. It is perhaps necessary to use children as a vehicle for this story, as we often think of children as malleable sponges of peer-pressured behavior. It also should make the events of the story all the more heartbreaking, and when watching 'Jojo,' it was absolutely heartbreaking. This movie would fail tremendously if it were tone-deaf, and I believe Waititi was extremely conscious about this, because its satire is hilarious and punchy when it needs to be as much as its heart-wrenchingly distressing moments are upsetting and serious when they need to be. It's an incredibly bold film by nature, but with recent successes like 'The Death of Stalin' and 'The Interview,' it seems this kind of historical catastrophe-based tragicomedy is becoming more acceptable and appreciated. If this comes across as too cold, it is only because the real events are not trivial to me and I am hesitant to lavish a film like this with praise when it doesn't exist in an "Alice in Wonderland" fiction universe but our own very real, very harrowing Earthly past.
What are critics saying?
100
Original-Cin by Karen Gordon
A work of sublime sweetness and beauty.
100
USA Today by Brian Truitt
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. 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.
95
Paste Magazine by Joelle Monique
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.
91
Entertainment Weekly by Leah Greenblatt
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.
90
Slashfilm by Chris Evangelista
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. The end result is a heartfelt, sweet, blackly comedic coming-of-age journey that tries to find hope in hopeless times.
90
We Got This Covered by Luke Parker
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.
90
Film Threat by Alan Ng
Waititi masterfully balances the film’s comedy with the seriousness of the subject. He plays with your emotions to heighten the impact of the story’s message. Nothing in this film feels gratuitous and the tonal shift in the film will hit you like a ton of bricks.
89
Austin Chronicle by Marc Savlov
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.
88
Chicago Sun-Times by Richard Roeper
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.
88
Washington Post by Ann Hornaday
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.
85
TheWrap by Steve Pond
A twisted piece of grandly entertaining provocation. ... This is a dark satire that finds a way to make a case for understanding.
60
Total Film by Jane Crowther
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.
60
Variety by Owen Gleiberman
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.
50
The Hollywood Reporter by Todd McCarthy
The cartoonishness of it, while amusing at the outset, doesn’t wear well as matters deepen and progress.
50
IndieWire by Eric Kohn
Yes, Waititi’s sugary fantasy unearths an endearing quality in the most unlikely places. But in the process, it buries the awful truth.
40
The Guardian by Benjamin Lee
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.
40
Screen Daily by Tim Grierson
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.
33
The Playlist by Charles Bramesco
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.
Slant Magazine by Keith Uhlich
Waititi is incapable of dealing with the twin horrors of oppression and indoctrination beyond cheap-seats sentimentality and joke-making.
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