Jojo Rabbit (2019)

The review presents the film as an audacious comedy that finds a tricky way into a difficult subject. It singles out the film’s unusual premise of a Nazi boy befriending an imaginary Führer.

Kemp finds the film a witty, playful, well-intentioned satire, while acknowledging that its Holocaust comedy may alienate viewers. She especially praises Roman Griffin Davies’s convincing performance as Jojo.

The available text characterizes the film as a gentle satire. It singles out the boy’s imaginary friendship with Hitler as its central premise.

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Dowd finds the film a sentimental, thin crowd-pleaser rather than the provocative satire it promises. He particularly criticizes its gooey humanism and portrayal of Nazis as buffoons, which he says softens the horror of the Holocaust.

The review finds the film daring but uneven, with tonal clashes that are partly redeemed by its humane second half. It singles out Thomasin McKenzie and Roman Griffin Davis for bringing tension and vulnerability to the story.

Turan finds the film erratic but engaging, with its daring and sentimentality not always holding together. He particularly praises Waititi’s imaginary Hitler, while noting that Scarlett Johansson’s character feels underused.

The critic describes the comedy-drama as uneven. The review highlights Jojo’s indoctrination and the challenge to his prejudices when he discovers his mother is hiding a Jewish girl.

The critic finds the film’s wacky approach to Nazi satire challenging, with tonal contrasts that sometimes grate, but ultimately touching rather than cynical. The central performances, especially Scarlett Johansson’s nuanced Rosie and Roman Griffin Davis’s emotional range, are singled out for praise.

Taika Waititi has threaded a risky but funny path with this sweet-tempered, zany farce about a boy with an imaginary Hitler friend. It is slightly hit-and-miss but succeeds in many ways.

Crowther finds the film entertaining and emotionally affecting, but ultimately disposable rather than resonant. She praises the comic absurdity and notes a moving scene at a hanging scaffold.

Kohn calls the film a charming but confused muddle that fails to confront the Holocaust’s realities. He praises Scarlett Johansson’s soulful comic performance and the scenes between Jojo and Elsa, while criticizing the film’s broad, superficial treatment of Nazi antisemitism.

Edelstein finds the film an awkward tonal mixture, though he sees it as a middlebrow triumph and values its existence. He praises the charming young cast and singles out Taika Waititi’s manic performance as the imaginary Hitler for keeping the film afloat.

Sexton judges the film a tonally unsuccessful, overly cute treatment of its grim subject, with neither convincing drama nor effective spoof. He praises Roman Griffin Davis’s performance as Jojo but finds the attempted pathos and uplift lacking historical weight.

Lee finds the satire smug, thinly etched and too timid to do justice to its subject. He singles out Scarlett Johansson’s charming, convincing performance as the film’s strongest element.

McCarthy finds the film’s Nazi-era comedy divisive and ultimately less effective as its story deepens. He praises Sam Rockwell’s comic performance and the young lead’s central role, but criticizes the cartoonish treatment and choreographed ending.

Gleiberman finds the film conventional and too safe, despite its claim to daring satire. He praises Thomasin Harcourt McKenzie’s performance as Elsa, while faulting the film for leaving the children’s emotions on the surface.

The film is a feeble, one-note Nazi comedy that fails to land a single meaningful blow as satire and veers into sentimental tear-jerker territory.

The critic finds the satire painfully unfunny, politically toothless and ultimately a missed opportunity. They praise the chemistry between Roman Griffin Davis and Thomasin McKenzie, while criticizing Taika Waititi’s Hitler performance as distracting and one-note.

Uhlich condemns the film as a wrongheaded, humorless satire that mishandles oppression and indoctrination. He singles out its cheap sentimentality and joke-making, while finding one German-shepherd pun briefly amusing.

Brody pans the film, arguing that its anti-hate satire backfires by inviting sympathy for Nazis and contemporary hate movements. He singles out the film’s sentimental humanism and its portrayal of “good Nazis” as especially troubling.

Kermode praises the film as clever, funny and deeply humane, rejecting claims that it trivialises the Holocaust. She singles out Roman Griffin Davis’s performance for capturing Jojo’s transformation with impeccable comic timing.

The critic finds that Taika Waititi succeeds admirably in taking the risky premise of a Nazi satire and delivering a film that amuses while reminding viewers of the idiocy and horrors of Hitler and his followers. He singles out the superb performance of child actor Roman Griffin Davis as Jojo for particular praise.

Monique praises the film as a tender, thought-provoking exploration of anger, despair, and empathy. She singles out the performances and its blend of slapstick comedy with serious reflection on hate.

The critic calls the film a heartfelt, sweet, black comedy that deftly balances darkness and light. They especially praise the performances of Roman Griffin Davis and Scarlett Johansson, and the warmth of their on-screen bond.

Goldberg finds the film hilarious and sweet, with a heartfelt case for love over hate. He especially praises Roman Griffin Davis and Thomasin McKenzie for bringing comedy and pathos to their roles.

The critic finds the film surprisingly emotional and hilarious, praising its balance of comedy and wartime horror. They single out Taika Waititi’s witty script and comic performance as Hitler as highlights.

Quinlan finds the satire sensitive, silly and sweet, with Waititi’s kind direction balancing the subject’s dangers. She particularly praises Roman Griffin Davis’s funny, emotionally perceptive performance as Jojo.

The critic finds the film a grandly entertaining provocation that ultimately makes a case for understanding. They praise its genuine heart and touching moments, though the Nazi-mocking joke sometimes runs out of steam.

Kaye finds the film enjoyable and largely successful, though its comedy and drama do not fully cohere and its emotional impact feels muted. He particularly praises the performances, especially Sam Rockwell’s revealing turn as Capt. Klenzendorf.

The critic finds the film charming and often funny, though its central story is disappointingly predictable. They praise its witty script and visual style, while noting that the comedy is less caustic than expected.

The critic finds the film hilarious, heartbreaking and audacious, though its tonal shifts and occasional bad taste can jar. The performances, especially Roman Griffin Davis’s lead turn and Taika Waititi’s Hitler, are singled out for praise.

Geisinger finds the film effective overall, though its comic treatment of Nazis can feel unsettling. She particularly praises Elsa’s role in making viewers empathize with Jewish experience.

The film establishes a whimsical tone but loses consistency in the third act as serious elements clash with comedy. It ultimately offers sweetness and an idiotically hilarious Hitler, though some plot elements like friendship with Yorki are underdeveloped.

Bramesco finds the film’s plea for tolerance naively idealistic and politically misguided. He praises Scarlett Johansson’s performance as Jojo’s mother, while arguing that the film wrongly treats forceful opposition as a problem.

Nayman finds the film’s anti-Nazi satire overly safe and emotionally manipulative, ultimately softening the horrors it means to confront. He praises the psychological detail of Jojo’s imaginary Hitler growing spiteful as his influence fades.