In Nazi Germany, a Young Boy Searches for His Purpose

From left: Sam Rockwell, Scarlett Johansson, and Roman Griffin
Davis in "Jojo Rabbit"
Photo Credit: RottenTomatoes.com

For over a decade, writer-director Taika Waititi has developed a distinguished voice in moviemaking. Although his career got off to a bit if a rough start with the overly quirky romantic-comedy “Eagle vs. Shark,” his storytelling skills became stronger with the family-drama “Boy,” the vampire mockumentary “What We Do in the Shadows,” the backwoods adventure “Hunt for the Wilderpeople,” and the superhero film, “Thor: Ragnarok.”  Through these movies, you see that Waititi has a recognizable style of humor that gives his films a punch and ensure that you’ll remember his unique characters and narratives.

He now approaches comedy from a historical and satirical angle with his new film, “Jojo Rabbit.”  Although the tumultuous time period in which the movie is set might not serve itself well to humor, Waititi is able to handle the balance between wit and drama well enough to make the movie work.

In Nazi Germany, Johannes “Jojo” Betzler (Roman Griffin Davis) is a Hitler Youth who has aspirations of impressing the dictator with his dedication to his country.  He soon finds out that his mother, Rosie (Scarlett Johansson), is hiding a Jewish girl, Elsa Korr (Thomasin McKenzie), in their home, and the events that follow will have him face a reconsideration of his loyalty to the Nazis.

Davis, in his debut performance, is superb in exhibiting the conflict that Jojo feels in sticking with his Nazi fanaticism and the compassion that’s spreading throughout his heart when connecting with Elsa, and he shows a compelling change as Jojo tries to figure out where his true sympathies are.  Davis displays the exuberance that comes with being a child, but then evokes an abundance of emotion when his must show his character going through a transition into adulthood, a transition that has to be made during an unstable time in the world’s history.  With Davis’ approach to the character, he does terrific work in bringing to life a character who could make you laugh and break your heart.

McKenzie, who became known for her breakout performance in last year’s “Leave No Trace,” delivers understated, yet effective work as a young girl who longs to live her life, free of fear.  Her role has small bouts of poignancy throughout, all of which provide us with subtle details of a greater pain that has taken over her life.  McKenzie’s character is someone who has seen the worst of humanity and will do whatever she can to survive it, and she exhibits the strength that’s required to get through a time in history when it seems like countless people are against you.

Johansson presents her character as a beam of inextinguishable light in the middle of Nazi Germany’s terror.  It’s a loving performance that exemplifies a sense of virtue in a place that seems to be short of it, offering a comfort to Jojo as he tries to overcome an uncertain time in his life.  Whenever Johansson’s on screen, you feel a strong sense of kindness wash over the theater.  This is a character that could encourage you to believe in the goodness of the world, making the audience experience the same level of ease that Jojo feels when he is in the presence of such a kindhearted individual.

Waititi, who has acted in all of his movies, appears in this film as a comical, imaginary-friend version of Hitler, who appears on occasion to give Jojo advice.  Although Waititi is enjoyable to watch at first, his character is pretty much just an extension of Jojo’s thoughts.  And, seeing as it’s easy to see what Jojo is thinking throughout the movie, it soon starts to feel like Waititi’s character isn’t needed.  It also gets to a point where, during the stretches of the film where Waititi doesn’t appear, you don’t even notice that he hasn’t shown up in a while.

The movie comes equipped with plenty of entertaining supporting performances, such as Sam Rockwell as a Nazi captain, Rebel Wilson as an instructor at the Hitler Youth camp, Stephen Merchant as a Gestapo agent, Alfie Allen as the right-hand man to Rockwell’s character, and Archie Yates as Jojo’s best friend.

Waititi’s screenplay, which is based on Christine Leunen’s 2004 novel, “Caging Skies,” has Jojo getting into a couple of outrageous situations in the first half hour of the movie, but the rest of the story focuses on him trying to understand the momentous events that are occurring around him.  This is made possible by the interactions that Jojo has with the non-imaginary characters, and the many dialogues that Jojo has with them allow for his change of heart to have a weight to it as he begins to see the world in a new way.  We’re given access to many facets of Jojo’s life, so the story shapes him as a well-defined character and presents him as someone who has been through much at a young age and must go through harder times in the present.  The change of his values is carefully paced, creating a narrative where we’re given an idea of how much thought Jojo invests when changing his principles and challenging the ones that he had before.

As Waititi proved with “Boy” and “Hunt for the Wilderpeople,” he has an ability to make a blend of comedy and drama that feels natural to the stories that require such a combination.  In the case of his latest film, making a dark comedy that takes place in this era of history doesn’t lend itself to easy filmmaking because of the careful shifts in tone that are required.  Except for one instance where this shift becomes rather jarring, Waititi manages to have a lot of the comedy fit in with the seriousness of the historical backdrop.  As he goes between the laugh-inducing moments and affecting dialogues shared among Jojo and Rose, Jojo and Elsa, and Elsa and Rose, Waititi exhibits a confidence in taking on such a story and strengthens his talent as a filmmaker.

One of Waititi’s finest qualities as a writer and director is his aptitude for telling stories that are very human, which is similar to what he did with “Boy” and “Hunt for the Wilderpeople,” and he accomplishes this with “Jojo Rabbit,” a film that exhibits a great deal of confidence in someone’s ability to show compassion when it might be difficult to find it in other places.       

Grade: B+

During a Party, Two Friends Hide a Secret in Plain Sight: A Retro Review for "Rope"

From left: Farley Granger, James Stewart, and John Dall in "Rope"
Photo Credit: Imdb.com

As Alfred Hitchcock exemplified in his 1944 film “Lifeboat” and his 1954 film “Rear Window,” he doesn’t need much to give audiences the thrills to which they have become accustomed to when watching his films.  With a limited setting for this movies, he showed unwavering resourcefulness as a filmmaker.

However, another notable example of this emerged between the releases of these two films with his 1948 psychological thriller, “Rope,” in which he doesn’t only make use of a limited setting, but also a limited runtime (80 minutes), to give audiences a thriller that packs just as much excitement as in his longer films.

One day, best friends Brandon Shaw (John Dall) and Phillip Morgan (Farley Granger) strangle and kill a former classmate, David Kentley (Dick Hogan), in their Manhattan apartment.  They soon finalize their preparations for a party that they are hosting, and as the guests begin to arrive, the two conspirators find it becoming difficult to keep their secret from revealing itself, which is made more difficult by the inquisitiveness of one guest, Brandon and Phillip’s former prep-school housemaster, Rupert Cadell (James Stewart).

Granger, who worked with Hitchcock on “Strangers on a Train,” delivers a performance where you see the guilt taking over Phillip.  Wanting to keep the truth concealed, Granger displays his character trying his hardest to maintain his composure as his and Brandon’s guests become more suspicious as the party goes on, with Phillip’s facade starting to crack and threaten to expose his and Brandon’s dark secret.  There’s a strong palpability to the pressure that Phillip experiences in keeping his composure, and the nervousness that tends to compromise his appearance of calmness has you tense up whenever he interacts with the other characters.

Where Granger exhibits someone who threatens to be overtaken by the crushing guilt of the crime, Dall presents an unflustered and suave persona of someone who’s able to keep this big secret.  Dall exhibits his character’s expert navigation skills in dodging the suspicion of others, always managing to be the most pleasant of hosts as he shields his murderous tendencies from his guests.  Dall’s ability to convey his character’s charm serves as an unsettling example of how even the most affable person could be harboring the most disturbing of secrets, ensuring that we remain hooked throughout as we see for how long he can remain confident in getting away with murder. 

Although Stewart, who would go on to star in “Rear Window” and “Vertigo,” is in a supporting role and is the biggest star within the cast, he never tries to overshadow Dall and Granger.  It’s a character who’s understated, but allows for Stewart to display his talent as his Rupert pieces together the clues concerning what Phillip and Brandon have done.

The screenplay by Arthur Laurents, which is based on Patrick Hamilton’s 1929 play of the same name, is somewhat of a retelling of Edgar Allen Poe’s short story, “The Tell-Tale Heart,” but still manages to be its own story.  At just 80 minutes, this movie doesn’t waste any time in getting started, as it opens with the murder, and then the rest of movie is the aftermath.  Given the film’s confined setting and the characters always being together and conversing, this is a movie that relies all on dialogue, and there’s never a conversation that doesn’t hold your attention.  And, although this is a dark premise, Laurents injects some clever humor here and there that never seems intrusive, but serves to ease the tension on occasion. 

The cinematography by Joseph A. Valentine and William V. Skall uses a series of long takes to create the effect of this movie being told in real time, with the cuts ranging from over four minutes to over 10 minutes.  The continuous flow of motion allows for an authenticity of how the movie is presented because we experience the events and stress at the same rate as Brandon and Phillip.  The adeptness of these long takes is a significant example of the many technical proficiencies that would be seen throughout Hitchcock’s career.

With the movie placing us in a setting that includes the victim, the culprits, and their guests, Hitchcock is able to put us in an apprehensive state with everyone being near each other and having tensions rise; and, throughout the film, he keeps us anxious through a series of close calls of the crime being revealed as the characters congregate mere inches from where the body is stored.  Hitchcock presents is title of “Master of Suspense” in a different way for this film because, whereas his other movies withhold details as he builds anticipation in waiting for various factors to converge, this movie has all of the pieces in front of you, confined within the apartment.  We know who committed the murder, so the movie comes down to when Brandon and Phillip will be exposed, and this proves to be just as suspenseful as anything we see in movies like “Rear Window,” “Vertigo,” and “Psycho,” among other Hitchcock movies.

“Rope” may be short, but the amount of thrills that it offers is undeniable, and the film will have you tethered to the screen.

Grade: A

For a Luxurious Life, a Family Slowly Overtakes an Upscale Household

From left: Choi Woo-shik, Song Kang-ho, Jang Hye-jin,
and Park So-dam in "Parasite"
Photo Credit: Imdb.com

Check out my review on SiftPop.com!

In Gotham City, a Clown is Done Being a Joke

Joaquin Phoenix in "Joker"
Photo Credit: Imdb.com

Todd Phillips is a filmmaker who has found success in writing and directing R-rated comedies for nearly two decades, with such hit films as “Road Trip,” “Old School,” “Due Date,” and, of course, the “Hangover” trilogy.  Because of this, you would have never expected him to make a movie such as his psychological drama, “Joker,” in which he explores the origins of Batman’s archenemy in a film where comedy is placed in a much more malicious setting.  In the end, Phillips brings us a comic-book movie unlike any other with what may be one of the most surprising directorial shifts in genres of the last few years.

Arthur Fleck (Joaquin Phoenix) is a man who works as a clown-for-hire and lives in Gotham City with his mother, Penny (Frances Conroy).  In his spare time, he tries to build a career as a standup comic, but doesn’t get anywhere.  Soon, a series of startling events will provide Arthur with a newer, darker purpose in life.

Phoenix delivers a performance where calling it “unforgettable” would be the severest of understatements.  His work in this film is shattering, putting you in a state of anxiousness right from his first appearance.  Phoenix builds upon his character’s unsettling persona, first making you uncomfortable, and then bringing forth an intensity that hammers you, eventually leaving you wide-eyed on several scenes as he calls forth the Joker’s destructive actions.  He presents a character who has suffered a difficult life, someone who carries the pain of not being noticed or loved and is now becoming someone who he believes that he’s meant to be.  Phoenix displays Arthur’s fractured mental state to a startling effect, bringing us down a brutal and twisted path as he turns into the villain who will make Gotham the victim of his turmoil.

The moments where Phoenix doesn’t have dialogue, but has to rely on his facial expressions and body movements are just as powerful as those with dialogue.  One such instance occurs after a pivotal moment near the end of the film’s first act, where we have Arthur running to a bathroom to recuperate from what has transpired, but then slowly composing himself as the most troubled parts of his mind begin to envelope him and morph him into his new persona.  It’s a scene that’s made even stronger with an evocative score from Hildur Guðnadóttir, which captures the shattering of Arthur’s mind that sends him beyond the point of no return.

Given how many times we’ve seen the Joker portrayed in film, it’s remarkable how Phoenix is able to find another angle from which to translate the character from the comic books to the movies.  For many years, he has proven to be an actor of supreme talent, but with this performance, Phoenix shows that he still has much with which to surprise us.

The film has a talented supporting cast, such as Conroy; Zazie Beetz as Arthur’s neighbor and love interest, Sophie Dumond; and Robert De Niro as Murray Franklin, a talk-show host whom Arthur idolizes.  Given how pretty much all of this movie’s focus is on the Joker, it’s understandable that each of these characters has about 10 minutes of screen time.  However, their talents help them make the most out of the material that they’re given.

The screenplay by Phillips and Scott Silver constructs a character study of a tortured individual, dragging us into the murk of his life as he gets hit with one misfortune after another.  What sets this apart from other comic-book movies is that this isn’t one that thrives on big visual-effects set pieces, but is instead a grounded, psychological evaluation of an iconic villain.  Each scene brings us deeper and deeper into Arthur’s mind and soul, slowly pacing out his transformation so that we feel the impact of each important event in the film.

The narrative also focuses on a turbulent socioeconomic backdrop (the movie takes place in 1981, where the abundance of crime in Gotham reflects what New York City experienced in that same year) that doesn’t feel heavy-handed, but instead serves as an intriguing force that leads to the Joker’s uprising.  These themes provide us with details about the state in which Gotham finds itself and give a dimension to the setting that shows the tension that threatens to bubble over and crumble the foundations of the city.

Without getting into spoilers, the story has some connections to the larger mythology of Batman, but what’s great about this aspect of the story is that these aren’t shoehorned in, but instead fit in with the rest of the movie.  These scenes add to Arthur’s quest as he tries to discover who he is and are some of the best in the movie.

With Lawrence Sher’s cinematography, Mark Friedberg’s production design, and Guðnadóttir’s score, Phillips brings us a comic-book movie that feels like it’s much more than that.  There’s a sense of realism that Phillips places within Gotham, and between the garbage-littered streets and graffiti-laden subways, the bleakness of the environment is in harmony with the bleakness of the story.  This is a movie where, as you’re watching it, you feel unsettled from doing so, but once it’s over, you’ll want to watch it again.

Although there are some similarities to Scorsese films in the narrative that would have you comparing it to the “The King of Comedy” and “Taxi Driver,” Phillips doesn’t try to copy his style or go overboard with said similarities.  Instead, he creates his own startling vision that will leave a lasting impression of how stories from the Batman comics are brought to film.

This movie offers a staggering view of this villain’s story, keeping you gripped as your heart rate increases throughout the film, right up to the gasp-inducing finale.  When Jack Nicholson played the Joker in Tim Burton’s “Batman,” one of his most memorable lines was, “Wait till they get a load of me.”  Well, wait until you see what’s in store for you with “Joker.”

Grade: A

After a Memo is Released, a Government’s Secrets are Exposed

Keira Knightley in "Official Secrets"
Photo Credit: Imdb.com

In 2016, director Gavin Hood brought audiences a suspenseful, thought-provoking thriller with “Eye in the Sky,” a film that encouraged viewers to ponder the ethical issues surrounding drone warfare.  He brought us to the forefront of modern political affairs in a story that was given its power through a talented cast, an intriguing story, and tense direction.

It seems as though Hood can be a terrific voice in political thrillers with that film and his latest movie, “Official Secrets.”  This time, he focuses on the true story about making the important decision between doing what your government thinks is best, and doing what’s best for your fellow citizens.

The story follows Government Communications Headquarters employee Katharine Gun (Keira Knightley) who decides to leak a memo detailing the United States’ intention to blackmail United Nations diplomats to vote in favor of the 2003 invasion of Iraq.

Knightley delivers an inspiring performance of someone who must choose whether or not to put everything on the line in order to prevent a war.  She has you experience the weight that such a decision has on her as she sets out to do the right thing.  In the beginning, Knightley shows her character’s internal struggle of whether or not to send the memo to the press and have her wondering if she crossed a line in doing so, and then the rest of the movie has Knightley display Katharine’s unfaltering conviction that what she did was the best course of action.  What’s most effective about Knightley’s performance is how understated it is, in that her character is someone who’s just doing the right thing, not for the purpose of inciting a cause célèbre, but simply because she values her fellow British citizens and doesn’t want them to endure the pains of war.  With Knightley showing her character’s strength in standing up for her decisions, despite others being against her, this is a performance that is sure to captivate you.

The cast is loaded with accomplished supporting performances, all of which carry the air of political intrigue that engrosses you in the story as it unravels, no matter if a character has one scene or several.  Out of all of them, the standouts are Matt Smith and Rhys Ifans as intrepid reporters Martin Bright and Ed Vulliamy, respectively, and Ralph Fiennes as Ben Emmerson, the lawyer who takes on Katherine’s case.

The screenplay by Hood, Gregory Bernstein, and Sara Bernstein, which is based on Marcia Mitchell and Thomas Mitchell’s book, “The Spy Who Tried to Stop a War,” provides strong details that immerse you in the story.  Between the numerous characters and intricacies involving the newspaper side and governmental side of the film, we’re given a narrative that’s fleshed out and shows us what happened behind what we heard in the news.  The screenwriters take us around many corners of this event, and you’re drawn into the story as each scene brings you deeper and deeper into this account of what it means to put your morals up against your government.  Given how many pieces there are to this story, everything you see is important and has a purpose because this movie makes sure that you grasp the full importance of this occurrence.

Hood can wrangle tension out of any scene that he films, whether it be Katharine sitting at a computer to print out the memo, being watched while taking a train, or racing to the airport to get a loved one back from the authorities.  Because of this, you feel the pressure of everything that Katharine has at stake.  Despite us already knowing the outcome of the story, that doesn’t make it any less anxiety-inducing.  All of these scenes are much more potent because of the true nature of the story and how much was on the line for the world.

Besides those scenes, the many conversations between characters will render you just as apprehensive because of the seriousness behind them, such as when Katharine is interrogated at her office during the search for who disclosed the memo.  Hood gets you invested in all of this as Katherine and others try to figure out the best course of action to take.  He accomplished this in “Eye in the Sky,” and it’s wonderful to see him do it again.

“Official Secrets” is another example of Hood being able to bring audiences a story that deals with how our ethics play into heated political situations.  For this film, Hood assures that, no matter what, there is always someone who will bring us the truth.

Grade: A