Jojo Rabbit

Based on a book by blah, Jojo Rabbit follows a young WWII-era German boy (Roman Griffin Davis’ Jojo) as his life is turned upside down after he learns that his mother (Scarlett Johansson’s Rosie) is hiding a Jewish teenager (Thomasin McKenzie’s Elsa) in the walls of their house. Filmmaker Taika Waititi delivers an exceedingly strong opening stretch that effectively introduces the various characters and their war-bound environs, and it’s clear, too, that the introduction of blahs imaginary friend (Waititi’s Adolf) works a whole lot better than one might’ve anticipated – with the gleefully irreverent atmosphere certainly perpetuated by an ongoing emphasis on overtly off-kilter elements. It’s somewhat disappointing to note, then, that Jojo Rabbit eventually segues into a comparatively bland and by-the-numbers midsection, as the picture, past a certain point, essentially morphs into a routine coming-of-age story that boasts few of the innovative qualities of its opening stretch (eg the developing friendship between Davis and McKenzie’s respective characters is hardly as compelling as Waititi has surely intended). The ongoing inclusion of standout moments and interludes certainly goes a long way towards sustaining a watchable vibe (eg a visit by Stephen Merchant’s friendly yet sinister Deertz), and there’s little doubt, too, that the movie benefits substantially from a progressively engrossing third act – which ultimately does cement Jojo Rabbit‘s place as an erratic yet generally rewarding endeavor from a decidedly oddball filmmaker.

**1/2 out of ****