Jojo Rabbit

[Dreidem]

[Alethia]

I am very much looking forward to this.

[jenkins]

the funniest part was definitely the A Hidden Life trailer playing before this movie

i respect this movie, it just didn't move me make me think surprise me or anything like that much. Taika Waititi can direct children with immense skill. and all that production design was top notch. it was well-put together but for what, why. who needs it. who wants it. easy laughs, easy goals, easy tears and a splash of nazi sympathy via Sam Rockwell. not even the imaginary friend of hitler was highly developed imo, in that he only appeared when jojo was alone

in terms of it's not that kind of movie to talk about that way, okay. double it with Bruce Almighty or whatever. it don't hurt nobody, sure

[wilberfan]

I really liked this movie.  Caught me completely and genuinely by surprise, actually.  I would be inclined to call it a kind of "Moonrise Deutchland", in that it's tone very much reminded me of "Moonrise Kingdom"--another film that I thoroughly enjoyed. (Not a huge Wes Anderson fan, but that one really resonated with me.)  Laughing, crying, characters you care about...sometimes that's all I want (or need) from a film. 

[jenkins]

you know i think "imagine Moonrise Kingdom, but nazism instead of summer camp" highlights both this movie's potential problems and how i was harder on it than i needed to be. i was more against this movie than was proper, i think now

[pete]

between this film and Knives Out - both films I like - the shadows of Wes Anderson looms large

[Jeremy Blackman]

I just caught this in its limited-time re-release, and thank god I did, because it's actually incredible. My reaction was similar to wilberfan's — it snuck up on me.

The first 30 min or so, I kinda had my arms crossed. This is all just very silly. I get what you're going for, but the plot is meh, and it's too goofy. Then I got what it was doing (mind of a child etc.), and characters started unfolding, and it clicked. I was intensely captivated and moved throughout the second half. The tone juggling (not tone "shifts"—juggling, violent juggling) is absolutely wild. But it all somehow works.

I don't even think this was all that similar to Wes Anderson or Roberto Benigni or whatever. It's so idiosyncratic—sometimes to the point of being actively confusing—that it really feels like the product of a singular person's imagination. That amount of personality remaining intact in a final cinematic product is kind of a precious thing.

[jenkins]

I wish for way more personality personally. I don't think you mean amount you mean type. It's a really affectionate movie and that was an affectionate response

[Jeremy Blackman]

I mean amount.

[jenkins]

that's an affectionate compliment

[Fuzzy Dunlop]

100% with JB on this, it really worked big time cathartic emotion style for me, and I wasn't expecting it to. I also really loved the specificity of it, it all feels like a singular cohesive vision which made me feel like I was in good hands and allowed me to open myself up to it. I get why people might not jump for it but I think it's heart is firmly in the right place and the trick it pulls off is something special.

[jenkins]

a developmental conversation related to expansive themes is not taking place. it's plain tlc. the movie is tlc. it's cool he made this and there's no reason to be mellow about how great he is at directing children. this will always be a warm movie