Tag Archives: Ragnarok

Jojo Rabbit

26 Oct

‘Jojo Rabbit’: Hitler Youth’s imaginary friend, true enemy battle for territory in his affections

 

Image result for jojo rabbit

“Jojo Rabbit” is something you’re not likely prepared to see – and that’s a good thing. The best way I can lay it down: It’s as if Wes Anderson did Hitler. That’s accurate but not entirely fair, because it’s written and directed by by Taika Waititi, a creative stylist in his own right with the vampire comedy “What We Do in the Shadows” (2014) and the grand uber-hero crackup, “Thor: Ragnarok” (2017) – probably the only Marvel film Scorsese and Coppola might tolerate – to his credits. “Jojo Rabbit” takes place in Germany on the eve of major turns at the end of the war, and Hitler, played with grand, goofy gaiety and menace by Waititi himself, factors large into the dark satire about a 10-year-old boy coming of age during complicated times (to put it mildly).

We catch up with Jojo (Roman Griffin Davis) as he heads off to a Hitler Youth boot camp for a weekend. He’s a proud loyalist and, because dad’s gone missing, his male surrogate is the führer himself. Talk about an unholy and unhealthy imaginary friend, but Waititi, who is half Maori and half Jewish, plays the part with a deft, humorous touch, giving Hitler a warm, avuncular sheen while not letting him off the hook for, well, everything.

The leporine tag of the title comes from that boot camp, where the undersized Jojo botches a test of manhood and is tagged a “scared little rabbit.” The best part about the camp is that we get Sam Rockwell as a snarky, demoted officer running things and Rebel Wilson as his chortling assistant – “Get your things together, kids, it’s time to burn some books!” Back at home, Jojo’s mother Rosie (Scarlett Johansson) doesn’t quite share her son’s all-things-Aryan zeal. Then there’s that someone hiding in the walls: Turns out mom and dad are anti-Nazi propagandists, and the older girl living in a secret compartment upstairs is Jewish, and being sheltered by mom. Jojo discovers Elsa (Thomasin McKenzie) and begins to study her (keeping a science journal detailing “the Jewish beast,” which, while shocking and telling, also becomes a major turning point in the film). As the interviews progress, a friendship begins to take seed. They never let Rosie know that Jojo knows, but in passing Jojo tells his pal Yorki (Archie Yates, whose round-faced exuberance makes him an infectious scene stealer) he’s “captured one,” and even Rockwell’s officer. But no one really believes him or cares, as the Third Reich has begun to crumble.

Beyond the wide-eyed  transformation of its young protagonist, the heart and humanity of “Jojo Rabbit” radiates through its women. Since she’s donned Lycra in the Marvel Universe and teamed up for freaky times with Luc Besson (“Lucy”), filmgoers might have forgotten ScarJo’s emotive resonate from past immersions into nuanced roles of cold alien bait (“Under the Skin”) or a dislocated American in Japan (“Lost in Translation”). She carries the part of a conflicted mother fully. You know her Rosie detests sending her son off to boot camp, but does so not only because of the bigger forces at play, but because she’s an adoring mother trying to support her progeny as best she can. McKenzie, who gave such a mature and central performance in the off-the-grid drama “Leave No Trace” (2017), ups her stock here. Her character’s somber reflectiveness and innate compassion go a long way in disarming Jojo’s regime-first reactiveness. The scenes of the two communicating indirectly while connecting on a personal level build subtly and effectively, offsetting the mad world outside.

I’m not sure if there’s such adroit, slapstick skewering in “Caging Skies,” the book by Christin Leunens on which the film is based, but in Waititi’s World War II universe, shouts of “Heil Hitler” – initially shocking – ultimately become something of a comic refrain, like, say, in a Mel Brooks movie, and Rockwell, Wilson and Waititi play their deplorables with over-the-top, nod-and-wink perfection. The material is equal parts grim and hysterical (especially the debate over which of the Allied forces are worse to humans and dogs – Americans, Russians or the British), and folk will likely seize on comparisons with “The Death of Stalin” (2017) due to the era, comedic style and subject. It’s only natural, but “Jojo Rabbit” delivers a palpable human story that touches as we laugh and the world around explodes. And somehow David Bowie and the Beatles find their way in.

Thor: Ragnarok

4 Nov

The “Ragnarok” of the title may have you scratching your head some, but early enough in the latest “Thor” installment we learn it’s the term for the apocalypse about to hit to Asgard, home of the Norse gods and heralded heroes. Can gods actually be terminated by mass extinction, you might wonder, once the prophecy is told. The answer to that comes in the form of fiery giant demon that typically lurks in the lower abyss of a Medieval-themed video game.

It’s probably best to forget your learned lore; this is the Marvel Comic universe, and a goofy, fun one at that. The handsome and hulking Chris Hemsworth again reprises his God of Thunder role with manly man bravado that’s comically undercut with a devilish dash of cheeky nod-and-wink deprecation. This deity is just as happy to solve a disagreement over a beer as he is to smite the opposition with his mighty hammer. His good-natured, turn-the-other-cheek-first attitude, rounded out with hangdog friendliness, endears. It’s a winning combination that makes the “Thor” series more engaging than, say, a “Captain America” chapter. Levity may be more essential to saving the universe than teeth-grinding grit – just look to the original “Guardians of the Galaxy,” which won audiences on so many levels.

Of course Thor, in his defense of the realm, has one heck of a backup team: the Hulk (a CGI image, and Mark Ruffalo when in human form), his double-crossing brother Loki (Tom Hiddelston) – what else would you expect from the god of mischief? – and boozed-up warrior Valkyrie (Tessa Thompson). Also in the mix as papa Odin we have the estimable Anthony Hopkins and, as Thor and Loki’s sister who’s been sent to the corner for a near-eternal timeout, Cate Blanchett as Hela (she’s absolute Hell), the goddess of death who looks like Maleficent on steroids.

The intoxicatingly strange brew – the third “Thor” flick, and fifth Marvel film that the Norse god has appeared in – gets nicely stirred by quirky New Zealand auteur Taika Waititi, who’s helmed such idiosyncratic ditties as “Hunt for the Wilderpeople” (2016) and “What we do in the Shadows” (2014). And if that’s not enough, Doctor Strange(Benedict Cumberbatch) pops in briefly to pull Loki and Thor through a portal in Manhattan. The reality-bending interaction between the three is so pickled and pleasing it nearly sets the rest of the film up for failure. The best, however, is Jeff Goldblum as an entity referred to as the Grandmaster, an omni-powerful being on par with Hela, but one who takes far greater joy in his station, hoisting gladiator contest on a trash heap of a planet called Sakaar. Thor and the Hulk get pitted in the ultimate fight contest. It’s a juicy role akin to Stanley Tucci’s Caesar Flickerman in “The Hunger Games” and he bites in deep. Blanchett does too, and Hemsworth cements it all together in a rollicking good time that, predictably and somewhat sadly so, ends in a CGI slugfest.