Well, this is diversity done right. I want to get that out of the way, probably the most diverse cast in any super hero movie to date and... no one complained. No one really even noticed. But that's because, unlike a lot of diversity driven movies, the creators didn't get on a soapbox and shout "like it or else! If you criticize any part of it your a (insert popular woke accusation)!"
The result was that they made a hysterical and totally entertaining movie lots of people loved. The plot was fun and entertaining, the characters were fun and entertaining, they were deep, they had struggles, they overcame the struggles, and they developed over the course of the film.
In other words, they told an actual story and they did it with grace.
It is a fun adventure film. It's funny and dramatic. The cast is brilliant. The story actually, well, it actually tells a story that relies on more than special effects.
The only real issue is that it was released at the wrong time.

Shazam! is a heartwarming funny origin story for kid struggling with family, friends, and his new gifted superpowers. I had a lot of fun with this film, whether it was kids buying beer with their new appearance, the crazy fun training montage, or the humor that surprisingly hit more often than not. Zachary Levi and Jack Grazer had really awesome chemistry, and I loved every minute they were on screen together. Although the same cannot be said for Asher Anger, not that his scenes were bad they just didn't do much for me and felt flat. I felt that they lingered on for too long and I just wanted Shazam back which led to some pacing issues. The villain was nothing to write home about either. He had a very generic motivation and suffered from the classic villain trope of bad guy with the same powers as the heroes. Overall, the negatives were nothing that distracted from the fun you can have with this film.
**Verdict:** _Great_

Second viewing and my feelings pretty much remain the same. Fun moments and Zachary Levi was very good in the leading role and although not terribly memorable, Mark Strong made for a fine villain, that said, some of the humor wasn't for me, although I did enjoy some of director David F. Sandberg's more horror-centric style shined through with the Seven Deadly Sins.

Zachary Levi is a hoot in this super-hero comedy reminiscent of the now classic Big with Tom Hanks. We get a solid first half, even two thirds, but why oh why do these movies almost always seem to revert to formula in the 3rd act? Been there, done that...

The titular Shazam and has alter-ego Billy Batson feel like completely different characters. This is not unheard of for a superhero by any stretch, but when accompanied by a change of actor, it's a pretty jarring situation. I also have a hard time figuring out who the target demographic is with this thing. Seems all over the place.
But! at the end of the day, the most important question is "Did I enjoy _Shazam!_?" and to that the answer is still somehow yes. Probably the best that the DCIThoughSheWasWithUniverse has to offer (with the glaring exception of _Wonder Woman_).
_Final rating:★★★ - I liked it. Would personally recommend you give it a go._

Definitely has its moments, bit in total the movie feels inconsistent which kills most of the buzz. It switches from rather serious scenes where people actually get hurt to PG-6 compatible simple humor back and forth a few times.
With ever transformation the whole character changes, Shazam acting more like a 5 Year old than the 15 Year old Teenager he's supposed to be.
Freddy sometimes acts downright malicious, which is not a problem per se except that everyone else doesn't really seem to be bothered much by it.
Still not a bad take on the comic, but it feels inconsistent and left me wondering what age the target audience is supposed to be ...

After the spiderman movies, this has to be the most annoying superhero movie I've seen to date. It took nearly an hour for the movie to actually get interesting and during that whole time one is treated to 2 super annoying teenagers.
Honestly, I'm glad I didn't go to the cinema for this otherwise I'd constantly be reaching for remote to press the fast forward button. About the only redeeming quality of this film was the picture and acceptable acting from everybody involved. Pity everything else was bad.
There's no way I'd willingy watch this again. No way.

It's entertaining, it has heart, and it's joyful. It has been proven time and time again that these things are what is required for a good Superhero film.

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First of all, I didn’t know anything about Shazam. What his powers were, what story did he have … Basically, I didn’t know who he was. This is what David F. Sandberg‘s movie does best: introduce the audience to a new DC superhero, by delivering an uncommonly well-structured comic-book screenplay, packed with laughter and entertaining action. Zachary Levi is undoubtedly the standout! Not only is he hilarious, but he perfectly captures the childlike personality that a kid-turned-adult would have. His expressions of absolute surprise and awe of his powers are extremely precious, and he effortlessly carries the more lighthearted tone on his shoulders.
Asher Angel is brilliant as Billy Batson. His character has a notably well-written and well-explored backstory, which eventually justifies the person he has become. It’s the most emotional and heartfelt subplot of the film (probably the only one, really), and Henry Gayden did a fantastic job writing its script. It doesn’t feel cliche or over-the-top, it actually feels grounded and quite realistic. Jack Dylan Grazer plays his best friend, Freddy Freeman, and he’s the primary source of self-aware comedy. He knows all the cliches regarding superheroes and supervillains, so his jokes constantly land and play seamlessly into the last act.
Usually, villains tend to be hollow characters with paper-thin motivations, but since a few years ago, this issue has gradually been corrected. The latest comic-book movies have incredibly well-developed villains, who carry a compelling backstory that entirely supports their beliefs, but not their actions. This type of villains work because not only the audience can understand where they come from, but in some cases, they can even connect with and care about them. Dr. Thaddeus Sivana is not exactly someone the audience ends up caring about, but his backstory is emotionally powerful enough for us to understand where his motivations originate from. Mark Strong delivers a menacing performance, and his costume/make-up looks pretty badass.
The first act is kind of a mixed bag. It starts in a very captivating way, and once you understand who’s the character at the center, it gets even better. However, the film’s tone takes long to establish itself, and the beginning of the movie struggles to find which jokes land and which don’t. The humor is on-point throughout the rest of the runtime, but those first few jokes not so much, which threw me off a little bit. The action sequences are amazing, and the sound design allows the audience to feel every punch, kick, a fall on the ground or a Superman-ish take-off. The fight sequences are seamlessly edited, and you know how much I love well-choreographed or well-edited action scenes.
Shazam‘s search for his powers provides the funniest and most entertaining moments of the film. Each test that he puts himself through is both hilarious and informative. This is another aspect of the screenplay I love so much: they had several ideas of how to approach this segment, and they nailed every single execution. From the pop-culture references to the hero-villain cliches, Sandberg did a terrific job exploring those concepts, and he executed them flawlessly. The best jokes are the ones that can be funny on different levels for different people. If people can laugh at a particular scene solely due to it, but other people can laugh even more because that moment means so much more to them, that’s when you know a joke is perfect. Shazam is not only funny for comic-book fans, everyone can leave the theater entertained and jolly.
It’s still a straightforward superhero movie. There’s still a villain to defeat, and the film goes through all of the cliches that it makes so much fun of. Everyone knows how it’s going to develop, plot point by plot point, a few minutes in. Not that I consider this a flaw, it’s just … It is what it is. The final battle drags too much, and it keeps ending and restarting every five minutes. It does have a pretty cool conclusion, but it takes a bit too long to get there. Also, and I know that this is one of those logical nitpicks that CinemaSins are known for digging, but the flashbacks and time-jumps could have received better treatment concerning the age of the characters. One thing is to think that the characters would look much older/younger than what they display on-screen, but when they make them look exactly the same in the span of 30/40 years … Not so acceptable.
All in all, Shazam is a blast! It’s the most entertaining movie I’ve seen so far this year, and it’s freaking hilarious. It continues the comic-book films trend to change how villains are written, by delivering a well-developed bad guy, menacingly portrayed by Mark Strong. Every member of the cast gives a strong performance, but Zachary Levi steals the show. His whimsical attitude, reckless personality, and rich facial expressions are guaranteed to entertain you for most of the runtime. Asher Angel and Jack Dylan Grazer are outstanding as the young kids, and the former’s backstory carries emotional impact which passes on to the big guy he transforms himself into.
The action is packed with beautifully-edited sequences, powerful sound design, and cool, unique moments, but the supposedly climactic final battle drags too much. The first act struggles to find its rhythm and its tone, but once it gets going, it’s an exceptional journey. The best praise I can give Sandberg‘s movie is that I didn’t know anything about Shazam before entering the theater, and now I can’t wait for its sequel. Well-directed, well-written and remarkably entertaining. What more can I ask? Go see it!
Rating: B+

Growing up I was a regular viewer of the Shazam and Isis “Super Power Hour” on television. Back before the days of mega-budgeted Super Hero movies; we had to content ourselves with cartoons and low budget television offerings which did their best to capture the look and action of comic characters within the budget and technology limits they had to deal with.
Warner Bros. has brought their latest DC hero to the big screen with “Shazam!” and it looks to launch a new franchise for the studio and build on the success of “Wonder Woman” and “Aquaman” following some earlier disappointments with their planned hero franchise films.
The film follows the story of young Billy Batson (Asher Angel), who has grown up in and fled several Foster Homes after being lost at a Carnival years earlier and unable to find his mother. Billy has never stopped trying to find her and even takes extreme measures to try to find her that has gotten him in trouble with the law.
While trying to stick up for a family member at his latest Foster Home; Billy is forced to flee from some local goons and finds himself facing an ancient Wizard (Djimon Honsou; who tells him he will now have superior powers when he speaks his name as he is now a guardian against the forces of evil.
Billy does not believe this but upon uttering the name; he transforms into a powerful hero in adult form. Zach Levi plays the title hero and soon finds himself eager to test his new powers and his Super Hero obsessed Foster Brother is more than happy to mentor him and make all sorts of viral videos of his efforts and training.
Their efforts soon draw the attention of an evil individual (Mark Strong), who covets the power Billy has for himself as along with the Seven Deadly Sins; he looks to become an unstoppable force for evil and sets out to destroy all that stands in his way.
The film is aimed more for a younger audience as much of the humor is squarely focused on Middle School level jokes. There are more than a few references to “Big” along the way which does sum up a good portion of the backstory as when he is in hero form; the young boy without a family is a popular and dynamic adult.
In many ways this was one of the more odd aspects of the film. Billy is a dour and untrusting individual most of the time; however when he is hero form he is a jovial and goofy individual who acts like a teenager. I could see an increase in confidence but it is odd considering that they are the same person.
Levi is very energetic in the part and goes all in and he does a great job of conveying a kid in a man’s body. The biggest issue with the film is that there is mostly a lot of humor aimed at a much younger audience and large gaps with minimal action which made sitting through numerous childish antics a bit tedious at times.
Despite this; the film was entertaining and one of the better adaptions of a comic. The door is wide open for future adventures and I look forward to seeing what they come up with next.
3.5 stars out of 5

**For those who like satirical films, this film is a must-see.**
I saw this film a few months ago, but for whatever reason I didn't remember to write about it until now. Whatever the case, it's one of those films that I wanted to see again, because it's truly good. It's a satire (those politically correct can leave the room now and save their health) in which we follow the journey of a young German who is part of the Hitler Youth. He is truly fanatical about Nazism and has Hitler as his imaginary friend, so he is shocked to discover a Jewish girl inside the roof lining of his house: the boy's mother, in secret, is part of the resistance and helps Jews.
We are tired of seeing films about the Second World War, but it is such a remarkable and fascinating moment in our history that they will certainly continue to be an inexhaustible source of inspiration for filmmakers. However, what Taika Waititi offers us is quite different from the ordinary: a deeply satirical and comical film, where we see things through the eyes of a child perfectly deluded by the massive propaganda to which he was subjected, and who receives the first reality check of his young existence. I'm not going to dwell on the way in which Hitler used propaganda to create a legion of fanatical young people and indoctrinate society, I think this has already been covered extensively by many renowned historians and good documentaries.
I loved Waititi's light and witty direction, which also brings to life the imaginary Führer that young Jojo has as his friend. The director managed to make a film where good humor does not go beyond the limits, and where there is space for serious things handled with a seriousness that gives depth to the film (this is the case with the way in which the authorities repress dissidents, through visits from Gestapo agents, for example). It's not a dramatic film at all, but it's profound in its own way, and the script creates a good story between the fanatical boy, the mother with a double life and the Jewish girl, who reveals to Jojo all the reality he was unaware about the Jews.
Technically, the film intelligently relies on strongly colored, vibrant cinematography and visuals, contrasting greatly with the normally dark vision we have of Nazi Germany. In fact, this not only accentuates the boy's idyllic vision of this world, but also goes against the way the Germans themselves saw their country in those times, which were undoubtedly gray. The sets and costumes agree with this dominant tone, and the reconstruction of the period was satisfactory, although without excessive concern on the part of the producers.
The film has a good cast where the most notable name is Scarlett Johansson. The actress is deeply competent in her role, she exudes elegance and shows us all the contradiction of a mother who, trying to protect her son, also tried to act, to have an active position in the political situation, even if secretly, in hiding. She knows that only much later will her own son be able to understand the scope and value of her actions. Roman Grifin Davies is very good in the role of young Jojo, but Taika Waititi, an illustrious unknown to me, is even better in his satirical interpretation of a historical personality that the actor himself admits to deeply despising. Much of this film's strength comes from Waititi's irreverent and inspired action. In turn, young Thomasin McKenzie does a competent and interesting job in the role of the Jewish girl.

Now I am not a fan of children in films so approached this with more than a soupçon of trepidation. Well you can shoot me down in flames - Roman Griffin Davis is superb, simply superb. Can an 11 year old get an Oscar nomination? The story is quite surreal; a young Hitlerjugend (Nazi youth) discovers that his mother is harbouring a young Jewish girl under the eaves of their roof. What should he do? He's got Taika Waititi (aka Hitler) in his head preaching Nazi Arian philosophy at him whilst his own humanity (and curiosity) is guiding him elsewhere. Scarlett Johansson and the slightly sexually ambiguous pairing of Sam Rockwell and Alfie Allen are great at keeping the whole thing going and it's funny and inventive from start to finish. Special mentions for Archie Yates as his pal "Yorki" and Davis' acting coach Rachel House who has done a splendid job.

I almost feel bad for not liking this more.

**Jojo Rabbit** is wild. Heart-warming yet heart-breaking. Laugh-out-loud funny yet nerve-racking. This film is crazy good and offensively amazing. Please don't feel guilty for laughing, just enjoy the show.

Where this film may have missed the mark for some people is in its comedy, insofar as audiences expect a certain depth of humour from Waititi's films. Nevertheless, _Jojo Rabbit_ is tremendously endearing, especially through the titular character's innocent portrayal by actor Roman Griffin Davis.
Its poignant ending—the last scene of which I'd rewinded about 5 times—brought a smile to my face. Likewise, the appended Rilke quote seals the film as a tremendous work of art.

Thought the first 35-40 minutes to be rather dull and unfunny, however the rest really brought the film together and made the first part make more sense what Waititi was doing. Some nice moments with Davis and McKenzie although can't say I fell in love with this, but still glad I watched. **3.5/5**

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Taika Waititi delivers one of those films I absolutely love for the exact same reasons some people deeply hate it. His seamless balance between comedy and war drama makes Jojo Rabbit a thought-provoking yet hilarious depiction of how ridiculous Hitler’s followers were. Roman Griffin Davis offers one of the best young performances of the millenium, and the rest of the cast is pitch-perfect. There’s a lot of laughs, but also a lot of heart. Still, be warned: if you’re easily offended, this movie isn’t suited for you. Either go in with an open mind or don’t go in.
Rating: A-

"Your mother took me in. She's kind. She treats me like a person."
Taika Waititi is on a roll recently and rightfully so, because he's got a great comedic vision.
'Jojo Rabbit' is a World War II satire that's both hilarious and surprisingly tragic. Joy, terror, love, hate all in one movie. Waititi knows how far to take a joke and how humor can put on light on ugly issues. While absurd looking on the surface, but on a deeper look it's something unique.
Newcomers Roman Griffin Davis and Thomasin McKenzie take center stage upon the big cast. Their comedic timing, emotional range and overall performances are nothing short than impressive. Also Archie Yates is like the adorable child version of Nick Frost.
Speaking of big name stars. Scarlett Johansson is having a fantastic year and she once again delivers a wonderful performance. Sam Rockwell is amazing in pretty much anything he's in and here is no different. Rockwell playing a closeted homosexual Nazi is hysterical, and yet meaningful when you look at it more thoughtfully.
The weakest actor upon the cast has to be Rebel Wilson. I really didn't buy her as this character. I thought she's just doing her usual comedic traits like in every other movie, which I'm not a fan of.
Not only is Taika Waititi directing and writing, but also starring as Jojo's imaginary friend of his very own idol... Adolf Hitler. Apparently Waititi didn't have to research playing Hitler, because he thought Adolf was 'a f**ing c***'. Anywhere, the concept itself is really bizarre and really fascinating. While silly and entertaining, but could've been left out, in my opinion. There was a point where he completely disappears from the movie to later reappear during the finale.
At times I feel like it tries hard to be like a Wes Anderson movie, in terms of staging, quirky humor, and overall setting. Influence is one thing, but it came a point when it wasn't being it's own thing.
Overall rating: Criticisms aside, I had an absolute blast. Endearing and highly vocal. I'm glad a movie like this exist.

**_A hilarious piece of political satire that isn't afraid to be serious_**
>_The great danger of lying is not that lies are untruths, and thus unreal, but that they become real in other people's minds._
- Christine Leunens; _Caging Skies_ (2004)
We live in dangerous times. In this era of political regression, racists, xenophobes, neo-Nazis, white supremacists, white separatists, and fascists, once confined to the periphery of civilised society, have wormed their way back into the cultural mainstream, preaching hate and intolerance under the guise of terms such as "nationalism" and "patriotism". Meanwhile, politicians validate such groups by doing precisely nothing to curtail them and refusing to condemn them ("_very fine people on both sides_" and so forth). Far-right political parties have gained worrying footholds in numerous European countries, running on populist platforms of Islamophobia and anti-immigration, playing on peoples' fears of the Other, exploiting the dearth of facts in sociopolitical discourse, and trading in disinformation (and the less said about the current administrations in the US and UK, the better). Anti-establishment political rage is on the increase, as hordes of people disavow traditional centrism; think of Brexit, the election of Donald Trump, the _Movimento 5 Stelle_ in Italy, the _Alternative für Deutschland_ in Germany. Scholars and sociocultural anthropologists have posited that hateful right-wing ideologies are more validated now than at any time since the rise of fascism in places such as Italy in 1922 and Spain in 1936. And the best known example of this kind of fascist thinking, of course, is the Third Reich in Germany, beginning with the rise to power of Adolf Hitler in 1933.
And so, it's entirely fitting that a film set in this very _milieu_, which argues that love, tolerance, and kindness can defeat hateful indoctrination, has come along at this precise moment; because although this is a film set in Germany in 1945, it's really about the here and now. Based loosely on the 2004 novel _Caging Skies_ by Christine Leunens, _Jojo Rabbit_ is a political satire written and directed by New Zealand filmmaker (and Polynesian Jew) Taika Waititi (_Eagle vs Shark_; _What We Do in the Shadows_; _Hunt for the Wilderpeople_; _Thor: Ragnarok_). Courting significant controversy when it was announced (a comedy about Nazis? For shame. Especially when one considers that the novel is deadly serious) and sharply dividing critics upon release, the film has proven a significant hit with audiences, and has just scored an impressive six Academy Award nominations, including Best Picture.
Positing that the first casualty of indoctrination is objective truth, Waititi follows in the footsteps of filmmakers such as Charlie Chaplin (_The Great Dictator_), Mel Brooks (_The Producers_), Roberto Benigni (_La vita è bella_), and even Quentin Tarantino (_Inglorious Basterds_), in attempting to defang Nazi ideology by rendering it utterly absurd and mercilessly exposing it to mockery. Marketed as an "_anti-hate satire_", the film has no easy task – to use Nazism as the (mostly) humorous background to what is essentially a _bildungsroman_, without it seeming exploitative or dismissive of the real suffering endured by real people. And Waititi manages this tricky balancing act exceptionally well. The satire and slapstick elements are as funny as anything in his filmography, and the film's more serious moments (of which there are several) arrive like an absolute gut-punch. This could have gone wrong in so many ways – if it wasn't funny, if the emotionality felt contrived, if the serious moments seemed manipulative, if the whole thing just came across as disrespectful and in bad taste – but Waititi navigates these dangerous waters magnificently. _Jojo Rabbit_ is, in fact, that rarest of films – a comedy where the serious moments feel completely earned and a drama with something important to say where the comedy enhances the seriousness.
_Großdeutsches Reich_, 1945. The European war is all but over. Germany's army has been pushed back to the homeland and allied forces are approaching from multiple directions. However, the propaganda machine continues to ensure that the populace are relatively unaware that _Der Führer_ is on the brink of total defeat. In the fictional town of Falkenhem, ten-year-old Jojo Betzler (an astonishing debut by Roman Griffin Davis) lives with his whimsical mother Rosie (Scarlett Johansson doing probably the best work of her career). His father, he believes, is fighting on the Italian Front, whilst his older sister Inge recently died of influenza. And, oh yeah, his imaginary best friend is none other than Hitler himself (a ludicrously over the top Waititi), or at least Jojo's childlike conception of Hitler. Believing absolutely in his duty to the state, Jojo and his actual flesh-and-blood friend Yorki (a hilarious Archie Yates) attend a camp for the _Deutsches Jungvolk_ branch of the _Hitlerjugend_. The camp is run by the cynical Cpt. Klenzendorf (a powerful performance by Sam Rockwell that was outrageously ignored by the Academy), who was forced to leave the front line upon losing an eye. Helping him manage the camp are his effeminate second-in-command Finkel (Alfie Allen) and the completely insane Fräulein Rahm (Rebel Wilson), who claims to have given birth to eighteen blond-haired blue-eyed _übermenschen_ who are now fighting on the front. When Jojo is told by some older boys that to prove he has what it takes to be a soldier, he has to kill a rabbit, he refuses to do so, earning the moniker Jojo Rabbit. However, determined to show his fellow students what he's made of, he barges into a _Stielhandgranate_ exercise, tossing a grenade against a tree, which then explodes a few feet away from him, leaving him with a limp and a scarred face, and forcing him to return home in disgrace. As Jojo recovers, Rosie persuades Klenzendorf, who was demoted after the incident, to give him some work, and so he's employed to distribute propaganda around town. Life is dull but straightforward. That is until he learns his mother has been hiding a young Jewish girl, Elsa Korr (a nuanced performance from Thomasin McKenzie), in a crawlspace behind the wall of Inge's room. However, as every German youth knows, Jews are mind-reading demons who must be exterminated. So why would his mother be harbouring one, and, more importantly, what does Jojo do now that he knows?
Perhaps _Jojo Rabbit_'s most laudable component is how well Waititi balances the disparate tones, which is a hell of a lot better than Benigni did. The film mixes slapstick humour, caricature, satire, dramatic irony, and hope, but never does it seem like its ignoring or trivialising real suffering. When the comedy is dropped and Waititi gets serious, the tonal shifts pack a shocking punch, and it's _because_ they're so well integrated into the overarching comic structure – if you take away the humour and the satirical edge, the film's darker elements simply don't work as well – it's the contrast that makes each element all the more powerful. Waititi's tonal intentions are indicated right from the beginning, as stock footage of German children performing 'Heil Hitlers' is scored (unashamedly anachronistically) by the German version of The Beatles' "I Want to Hold Your Hand" (1963). Also crucially important to the film's tonal qualities are the bright, colourful palette employed by director of photography Mihai Mălaimare, Jr. (_The Master_; _A Walk Among the Tombstones_; _The Hate U Give_) and the whimsical production design by Waititi's regular designer, Ra Vincent. Together, they speak to the fact that this is Jojo's worldview rather than objective reality, with the look of the film reminding me a great deal of Wes Anderson's _The Grand Budapest Hotel_ (2014). It sure doesn't look like any World War II movie you're ever likely to have seen.
Thematically, the film examines multiple issues; the devotion of motherhood, the importance of kindness in defeating indoctrination, the disconnect between an unchallenged and rigidly reinforced ideology and a far more nuanced and complex reality, the predetermined attitudinal stance towards the Other, the clash between doing what one knows to be right and what one is expected to do, the fact that good people can be found even in the worst of circumstances. Klenzendorf's arc is especially telling in this respect. Introduced as a hyperbolic caricature, the source of some of the film's biggest early laughs, as things progress, we realise there's considerably more to his character than initially thought, and he commands what's easily the most moving scene in the whole film. This is Jojo's story, however, with much of the runtime concerned with his attempts to rationalise the cognitive dissonance between what he's been taught and what he can see with his own eyes. Rosie is rightly worried that the indoctrination Jojo has known his entire life has effectively brainwashed him – he's so passionately loyal to Nazi ideology, when he found out his grandfather didn't have blond hair, it took him three weeks to get over it.
Of course, as mentioned, although set in 1945, _Jojo Rabbit_ is really about the here and now, although it's more than a little upsetting that its depiction of illogical hate is so timely. Essentially, the film mocks extremism, people who hate based on ethnicity or religion, with Jojo's belief that Jews are demonic figures capable of powerful magic standing in for people who believe all Muslims are terrorists or all Mexicans are rapists. In this sense, the film isn't about Nazis at all; their role is more allegorical. Rather it's partly about the role adults play in inculcating children into hate and partly about exposing the power of propaganda to subvert truth. But so too is it about rising above such ideology, no matter how ingrained it might be, a path that values personal relationships with persecuted minorities, which in turn reveal the individualistic humanity behind the political cliché. And although all of this is presented humorously, it never becomes didactic or monolithically preachy – Waititi balances his tones so well, the political undercurrent remains always subtle.
If I were to criticise any element of the film, it would be that Waititi undeniably glosses over some of the more horrific atrocities carried out during the War. The Nazis in the film are, by design, cartoonish, but that is done so as to render them as easily dismissed figures to be scorned. The reality, of course, was far, far darker. I've seen some critics point to this as evidence that the film is crass and manipulative, and although I disagree with that assessment, it certainly wouldn't have hurt to have at least one fully indoctrinated Nazi who isn't a figure of fun – even the Gestapo is exposed to ridicule, with the character of Deertz (an admittedly hilarious Stephen Merchant cameo) presented as more concerned with empty pop-cultural signifiers than carrying out the actions of the real Gestapo. In this sense, the film doesn't represent the awful truth, but it never claims to; this isn't a reality-based examination of Nazism, nor does it try to be.
Only two weeks into 2020, and I already have a possible film of the year. _Jojo Rabbit_ is beautiful, emotional, heartfelt, and devastating, but mostly hilarious and always hopeful. It's an extraordinarily sweet film without ever becoming saccharine, as Waititi strikes a perfect balance between comedy, tragedy, and drama. It's a very funny World War II film which imparts a vital message for our confused and divided world of today – if we let them, love will always trump hate, hope will always light a way through the darkness.

Funny, light-hearted and delightful, Jojo Rabbit is a charming, and at times poetic, celebration of friendship, romance and peace, and a cheerful ode to our capability, and bravery, to save and love beyond boundaries.

Manages to somehow be one of the most raw and confronting looks at various aspects of WWII I've ever seen, and yet also often genuinely very funny. I'm not sure if that's really something that you should do... But Taika did anyway, and I loved it.
_Final rating:★★★½ - I really liked it. Would strongly recommend you give it your time._

Through his use of music and uncanny ability to find humour and heart in the darkest of moments, Taika Waititi has created an everlasting story that gives the power back to the persecuted and hope to the lost. ‘Jojo Rabbit’ will make you cry from laughter, cry from emotional pain, and cry with hope. It is simply stunning in all its facets, and a truly remarkable and unexpected film.
- Jess Fenton
Read Jess' full article...
https://www.maketheswitch.com.au/article/review-jojo-rabbit-taika-waititi-strikes-comedy-gold-again-with-adolf-hitler

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Snowpiercer is getting a TV adaptation soon, so now it's the best moment to rewatch one of the best movies in 2014. At the time, Bong Joon-ho wasn't exactly a famous director that everyone knew about. Therefore, the cast led by Captain America himself, Chris Evans, and the intriguing premise did all the work in creating the cult following it got. Ironically, I haven't watched this film since its release, so this is only my second time boarding its train. I'm going to start with the best thing that this movie possesses: its screenplay.
This is one of the most shocking films I've seen when it comes to delivering jaw-dropping twists, one after the other, exclusively through dialogue. As it would become a staple in Bong Joon-ho's filmography, his writing is so incredibly complex and multi-layered that it's truly a miracle that his movies end up making any sense. Snowpiercer (which is co-written by Kelly Masterson) has literally dozens of logical questions that any other film would not only fail to explain, they wouldn't even try to. With any other screenwriters, this movie would feel too far-fetched and hard to believe. But it's far from that.
Each character receives extraordinarily elaborate development, filled with mind-blowing revelations and eye-opening twists. Every line of dialogue, every picture, every camera movement, every shot, every scene matters. Everything the viewer sees or hears either means something or foreshadows an eventual payoff. Snowpiercer is the definition of "every shot counts". Don't you dare go to the bathroom without stopping the film first. You'll undoubtedly miss something significant. Absolutely brilliant screenplay and astonishing, well-written characters.
It's indisputably a narrative-driven story. Snowpiercer is a lesson in exposition. Even though there's plenty of action (I'll get there), it's a movie that relies on the viewer's ability to be captivated by dialogue. The concept is definitely unique, and the story is extremely captivating, but only if the viewer can understand the value of entertainment in listening to these characters while they go through their revolution... in learning who these characters were, are and will be. Just as an example, there's a third act's monologue performed by Chris Evans that not only delivers tons of information about his character, but it's also emotionally compelling to watch. If someone doesn't *feel* anything during this scene, then maybe Snowpiercer might not be the movie for you.
I find The Platform to have a similar concept. Instead of a train, it's a vertical prison, but the allegory of how society works is evident in both films. How politics, religion, and early education can control Humanity. The top/front people not only receive more than what they need, but they still overuse everything, completely ignoring the bottom/tail humans that need to fight for scraps. These films take entirely different paths, but Snowpiercer owns a much more complex narrative than The Platform. However, it's still interesting to see the comparisons between these two distinct approaches on a similar theme.
Nevertheless, for everyone that needs some sort of dynamic entertainment, this flick is also packed with action set pieces. There's a tiny bit of too much shaky cam for my taste, but overall, it accomplishes the mission of delivering the chaotic, energetic, claustrophobic environment that the action sequences need. It's a train, after all. It's not like they could produce massive battles in such a small space. In fact, the screenplay allows the crew to show some really creative, innovative techniques. The use of slow-motion (not only during the action scenes) elevates the movie, generating great suspense/tension, and it's perfectly timed (including a fantastic one-take sequence with Chris Evans).
Since I just mentioned him, might as well address his impressive performance. People might not remember this, but at the time of the film's release, Evans was interested in pursuing a directing career, setting his acting as a secondary role. While I do believe he's going to make a great director, I'm beyond happy that he continued to use his acting abilities. As with most of MCU's actors, I feel like he's pretty underrated considering what he has demonstrated throughout his career. Snowpiercer is just the tip of the iceberg. Chris Evans is a remarkable actor and much more than "just" a version of Captain America.
Tilda Swinton (Mason) also offers a quite interesting display, Octavia Spencer (Tanya) is fascinating, while the legend Ed Harris (Wilford) takes his short but effective screentime to prove how gifted he is, especially concerning plot exposition. He's always able to be captivating by merely opening his mouth. Marco Beltrami's score is riveting and memorable. The editing (Steve M. Choe, Changju Kim) is not only seamless, but it definitely helps the viewer better understand the story. Finally, the production and set design are impeccable, offering the "one-location", claustrophobic vibe that a train unavoidably has.
My only major issue involves the ending. It's quite impactful but also underwhelming and morally divisive. A particular decision that affects everyone in the train (basically, the entire Humanity) doesn't quite convince me that it's the best conclusion. It sort of diminishes some of the characters' efforts to get where they do, as well as the story's initial purpose. On one hand, it's an ending that raises a few questions in a movie that does a terrific job in explaining every little detail until this last moment. On the other hand, the train is far from giving a fair life to everyone...
In the end, Snowpiercer is not only one of 2014's best films but also one of the best of the respective decade. With a brilliant screenplay, Bong Joon-ho delivers an extremely complex narrative, filled with emotionally shocking character development, and featuring excellent stunt work. The underlying theme of how Humanity is controlled by how its society works (from politics to religion to education) cleverly accompanies the already twistful story. Snowpiercer is a phenomenal lesson in "exposition", and the definition of "every shot matters". Boasting jaw-dropping performances from everyone, especially from Chris Evans, every dialogue is remarkably captivating, packed with mind-blowing revelations, and an unbelievable effort in explaining every little detail regarding the train's functionality. This would undoubtedly be at the top of the decade's best movies if not for a morally divisive and somewhat underwhelming/questionable ending. Technically, an addictive score, amazing editing, and impressive production/set design put the final stamp of quality in a brightly original, unique piece of cinema.
Rating: A

Original IP Post-Apocalyptia as well as the 21st century can possibly dish it out.
_Final rating:★★★★ - Very strong appeal. A personal favourite._

**Million Dollar Baby is an extremely well-done film that takes an abrupt turn to deal with incredibly sobering subjects that are definitely not what I thought I signed up for.**
I know it’s supposedly a masterpiece, and I will lose some cred for saying this, but Million Dollar Baby was a dreadful movie. I spent the first half of the film falling in love with the hopeful, talented, and inspiring Maggie Fitzgerald and her redeeming of the cranky and lonely trainer, Frankie Dunn. But when the second half takes its giant turn, the story shifts from an endearing sports narrative about overcoming opposition and redemption to hopelessness and agony. Clint Eastwood directed a powerful story with impressive mastery, but the subject matter robbed the film of any enjoyment. For many, Million Dollar Baby deserved Best Picture at the Oscars. For me, I wish The Incredibles had claimed that victory.

Unreal! I didn't expect 'Million Dollar Baby' to be so astonishingly brilliant.
I've said it many a time before but for full context, I do not read up about films before watching them - aside from making sure the film isn't part of a franchise, checking the run time and seeing the genre - so I was expecting this to be a cliché-filled, but still great, sports flick. It's so much more than that.
It's way more deeper and has an everlasting impact that I hadn't anticipated. Even across the opening chunk I was predicating the obvious cliché ending, but as the film progresses and, especially, as the final portion rolls around it just absorbed my total attention - I was fully engrossed... hook, line, and sinker. Some film!
The cast are simply stunning. Clint Eastwood gives an absolutely fantastic performance, Hilary Swank is truly sensational - especially at the end, damn - and Morgan Freeman is Morgan Freeman; what an actor and what a voice, using him as narrator was a great move. Elsewhere, and though less dramatically, Jay Baruchel, Anthony Mackie, Margo Martindale and Michael Peña also feature interestingly.
It's quite the journey the film takes you on, which I just found utterly enthralling to watch unfold. Perfect pacing, perfect acting. I loved watching every second of it and will undoubtedly be revisiting it.
I noted days ago that I was rather surprised to learn that Eastwood's 'Unforgiven' had been so heavily acclaimed, on this occasion with this 2004 film I am the complete opposite. I don't care much for awards et al., but I am delighted to see all involved receive their props for this. Chapeau!
Marvellous, just marvellous.

***Female “Rocky” with a downbeat and contradictory close***
Released in 2004 and directed by Clint Eastwood, “Million Dollar Baby” stars Eastwood as a cantankerous boxing trainer who owns a working class gym in Los Angeles, which is maintained by one of his former boxers, the narrator of the story (Morgan Freeman). A waitress from the sticks of Missouri (Hilary Swank) shows up and asks that Frankie (Eastwood) train her, which he refuses to do because she’s too old at 32 and he “doesn’t train girls,” probably because he had an unexplained falling out with his daughter years earlier. Eventually he begrudgingly agrees.
The bulk of the film is basically a female version of “Rocky” (1976), except that I prefer the potent drama in this one. The three main characters are well fleshed-out with an all-around reverent tone, not to mention an occasional bit of mild amusement. Frankie and Maggie (Swank) slowly develop a father/daughter-type relationship and it’s touching.
The third act, however, takes a left turn that is seriously downbeat. It departs from sports movie formula with a message that contradicts everything the first two acts pushed, which is inexplicable. Sure, I ‘get’ the point: A certain person basically sacrifices everything to do what’s (supposedly) best for the situation and honor the will of a dearly loved soul. Nevertheless, it’s a dark turn that leaves a sour taste because it refutes the positive message of the first two-thirds of the story.
The film runs 2 hours, 12 minutes and was shot in Los Angeles.
GRADE: B-/C+

Though not quite as much fun as the original, this isn't an half bad follow-up. The beginning is a little too convoluted setting the scene as this time the family go to Florida but a last minute mix-up at the airport sends "Kevin" (Macauley Culkin) to New York. Initially a bit apprehensive, he heads - armed with his dad's credit card - straight to the Plaza Hotel where he goes a bit bonkers with the room service and catches the attention of suspicious concierge Tim Curry. Whilst out exploring, the recently released Joe Pesci and Daniel Stern bump into him and decide to exact their revenge - not before telling him of their daring plan to rob a toy store. Of course he escapes their clutches, and quickly decides to try to thwart their thievery - as only he can. Curry is on good form here, as is just about everyone else as the slapstick hits overdrive and the paint pots, a nail gun and even an old cannon find innovative new uses. It is a good team effort, this - with plenty of gentle humour and amusing antics. Maybe just a bit too long, the joke starts to wear a bit thin but Chris Columbus has built well on the first film, with just enough variation from that one whilst essentially keeping the story the same.

Just as good as the first. I actually like this one better then the first. It would be terrifying to be alone in a hugh city. Especially as a young kid. This movie is a lot funnier then the first one too.

I'm ashamed to admit it, but I like this sequel better than the first one!
New York is an amazing city in America. Even more amazing at Christmas!