Jojo Rabbit (2019)

Based on the novel ‘Caging Skies’ by Christine Leunens, this film tells the story of a young boy living right in the middle of World War 2 in Germany, and his idolisation of his hero - and imaginary friend - Adolf Hitler.

Ten-year-old Jojo (Roman Griffin Davis) lives with his mother Rosie (Scarlett Johansson) in a small village in Germany. He considers himself a Nazi, and at the film’s opening, is going away to a Hitler Youth style training camp with several of his closest friends, including best friend Yorki (Archie Yates).

There, he meets SS Captain Klenzendorf (Sam Rockwell), as well as Klenzendorf’s assistant Finkel (Alfie Allen) and Fraulein Rahm (Rebel Wilson), who introduce the young children to all manner of practices they will need to be skilled in in order to serve in Hitler’s forces.

The thing you need to know is Jojo not only idolises the Fuhrer, but he actually has him as an imaginary friend, and the two of them have lengthy conversations (of course, only Jojo can see him) and Adolf (Taika Waititi) is constantly commenting on Jojo’s life and decisions, and giving him advice on what to do next.

Jojo (Roman Griffin Davis) and Adolf Hitler (Taika Waititi).

After Jojo is sent home from the camp seriously injured - and also with physical deformities - he is stuck at home with his mother (his father is off in France fighting, as he has been told).

While there, he accidentally comes across a Jewish girl hiding in their attic. The girl, Elsa (Thomasin McKenzie) has been invited to hide out by Rosie - unbeknownst to anyone else of course, including Jojo.

Jojo’s personal beliefs are called into question, as he must decide what to do with this discovery. Does he turn Elsa in, and risk his own life and that of his mother? Or does he put aside his fascist thinking and learn to accept this person who isn’t all that different from him after all?

Rosie (Scarlett Johansson) and Jojo (Roman Griffin Davis).

The screenplay, adapted by Taika Waititi from Leunens’s book, is absolutely brilliant. Sure, there are a lot of differences between the book and the film, but none of these affect the film too negatively. The script - and hence the film - is absolutely hilarious, which may come as a surprise given the subject matter and the historical and cultural setting, though not as much of a surprise to those who have read the book.

There are plenty of twists and turns in the plot as the film progresses, which of course I will leave for you to discover. The characters are all incredibly well-constructed, with plenty of internal and external conflicts.

Michael Giacchino’s score is barely noticeable (in a good way). There is music there, but it is so well-suited to the scenes in which it features, it is never jarring. The film is certainly not overscored, in fact, it doesn’t have a lot of score at all. Even when it does, it is incredibly understated, with minimal instrumentation, keeping itself out of the way to allow the comedy (and drama) to come to the fore.

The cinematography - courtesy of Mihai Malaimare Jr. - is sensational throughout. The overall look of the film is in keeping with the setting and time period, and Malaimare’s command of light, dark, shadow and contrast is a joy to behold. The film - even though it is primarily a comedy - is visually spectacular, and deserves to be seen on as large a screen as possible (if you miss it at the cinema, watch it on a nice big television; you’ll thank me).

Elsa (Thomasin McKenzie).

Ra Vincent’s production design and Mayes C. Rubeo’s costume design firmly plant the viewer right in the middle of 1930s Germany, indeed right in the middle of an active war zone. The two work together in such a beautiful way as to perfectly set the scene from beginning to end, and everything just feels so real.

The performances of the entire cast are sensational as well, none more so than young Davis in the title role. Despite his young years, he has a seemingly innate ability to convey so much through his eyes. He also possesses brilliant comic timing - perfect for this film. The same things can be said of Scarlett Johansson, who doesn’t feature nearly enough considering her brilliance.

The supporting cast are equally as good, almost without exception. Waititi steals every scene he appears in, as does Sam Rockwell.

Director Taika Waititi has made an exceptional film here, one that I would happily pay money to see again at the cinema (it really is that good). I can not recommend it highly enough; you absolutely must see this film.

10 out of 10.

Avengers: Endgame (2019)

The wait is finally over. The incredible story that began years ago with the very first Iron Man film - but was most recently continued in Avengers: Infinity War - comes to its final conclusion with this film. And what a conclusion it is: it holds the title of being the only Marvel film so far that has made me cry.

I must be very careful what I write, and how much I tell of the story here, as there may still be people out there who haven’t seen the film yet. Sure, it’s been in cinemas for nearly a week, but not everyone goes to movies the day that they open, and any small detail could spoil the enjoyment or suspense for you.

The story picks up shortly after the final events of Avengers: Infinity War, with Thanos having obliterated fifty percent of all living creatures on Earth. As you may recall if you were among the audience, this also included a large number of our heroes: Spider-Man, Doctor Strange, nearly all the Guardians of the Galaxy, Scarlet Witch and the Wasp, to name but a few.

The remaining Avengers - Captain America (Chris Evans), Iron Man (Robert Downey Jr.), Black Widow (Scarlett Johansson), the Hulk (Mark Ruffalo), Thor (Chris Hemsworth) and Rocket Raccoon (voiced by Bradley Cooper) are desperately seeking some way that they can reverse Thanos’s (Josh Brolin) destruction, bring back their friends and family, and save the world yet again.

We know from the trailer (so this can’t be a spoiler) that there are some new additions to the team who weren’t present during Avengers: Infinity War, namely Captain Marvel (Brie Larson) and brilliant comic-relief character Ant Man (Paul Rudd).

To be honest, I really don’t think I can say any more than that in terms of the plot. I realise that anyone could probably have worked out that much on their own without ever seeing it, but honestly, anything else I say past those few opening scenes would inevitably contain significant spoilers, and I don’t want to do that.

The script for this film, by Christopher Markus & Stephen McFeely is very good, beginning with the incredibly bleak tones one would expect following the events of Avengers: Infinity War, moving on to the attempts to salvage whatever hope these heroes can, to the ultimate conclusion of the film almost three hours later (yes, it is a long film, but there is a lot that has to happen). These writers stay true to the characters at all times, which makes for some interesting - yet satisfying - conflict. The script is infused with just the right amount of humour at various points to provide a welcome break from the serious dramatic nature of the story (I spent a fair amount of the film’s running time in tears, and these funny moments throughout were definitely welcomed).

Trent Opaloch’s cinematography is incredible, with plenty of contrasting moments between light and dark, and beautifully-framed shots of the action sequences. I know I’ve said this before with other comic-book-to-film adaptations, but every frame of this movie (especially the high-action moments) looks just like it could have been lifted straight from the pages of a comic book).

The score, composed by Alan Silvestri, works perfectly with the high-action moments, but also with the moments with less tension and excitement. It may not be as innovative a score as that from Black Panther - another Marvel film - but it is still a beautiful score nonetheless.

The performances of the entire cast (and there is a huge cast in this one) are superb. Hemsworth and Rudd in particular have really stepped up for this final film in Phase Three of the Marvel Cinematic Universe. However, special mention should go to Robert Downey Jr. who, though appearing in basically every Marvel film in the entire MCU, is a far better actor in this film than in any of the others, in my opinion.

Directors Anthony and Joe Russo (who also directed Avengers: Infinity War) have really outdone themselves with this film, bringing us a story that will thrill audiences the world over. Take my word for it, if you have enjoyed any one of the Marvel films (and I mean any single one of them), then you must see this film. If you are able to, see it on the big screen with an audience; it’s well worth the expense.

This is without a doubt the single greatest film Marvel has ever done.

10 out of 10.

Hail, Caesar! (2016)

Have you ever wondered what life was like in the Hollywood of the 1950s, when actors were under contract to the studios, when studios controlled and monitored every aspect of their actors’ lives? If the answer is yes, then perhaps this film will help to answer your question.

Eddie Mannix (Josh Brolin) has a difficult job. He is the executive in charge of Capitol Pictures, a studio trying to make a life- and world-changing picture called ‘Hail, Caesar!’ among other titles. The majority of his day consists of covering up for his contracted stars’ indiscretions, numerous PR disasters, in other words.

In the course of a single day, so many things go wrong, and he races against the clock to fix as many of them as he can without making too much of a scene for the tabloids in the process.

Firstly, the big star of ‘Hail, Caesar!’, Baird Whitlock (George Clooney) is missing, believed kidnapped. Next, one of his leading ladies – DeeAnna Moran (Scarlett Johansson) is pregnant and unmarried, a scandal for the time. The lead in another film is replaced by a young western star named Hobie Doyle (Alden Ehrenreich), who struggles with the serious dramatic picture he is completely unaccustomed to, and struggles even more to impress the film’s director, classically-trained Laurence Laurentz (Ralph Fiennes).

Add to all this the pressures of home life, and being headhunted by another company, and a communist plot to undermine the studio, and it’s not hard to see how difficult his life can be.

Joel and Ethan Coen, who wrote, produced and directed this movie, have – to use a phrase that is in danger of being overused – done it again. This film is a beautiful homage to the films of the classic age of Hollywood, while at the same time, being made in the very style of those films.

The production design (by Jess Gonchor) and costume design (by Mary Zophres) create an atmosphere that is unmistakably 1950s Hollywood. Add to that Roger Deakins’s cinematography, and it feels like you are actually watching a classic film.

Carter Burwell’s original score is as much a part of the mix and overall ambience as anything else. The music is not overused at all, but is perfectly balanced within the whole undertaking. There doesn’t seem to be a thing out of place about this film.

The performances of the cast are all fantastic. If you’ve seen George Clooney do comedy before, you know that you’re in for a treat. And seeing him in a Coen brothers’ comedy (remember O Brother, Where Art Thou?) again is so enjoyable. The Coens seem to have a love for Clooney’s comedic ability, and it pays off here.

Ralph Fiennes is also a master of timing here; there is an absolutely hilarious exchange between him and Ehrenreich on the set of his film that never fails to make me laugh, despite the fact I know it’s coming, having seen this film a few times now.

The script is very well-written, and expertly crafted. Then again, if you’ve seen any film by the Coen brothers, that shouldn’t be a surprise to you.

Look out for the brilliant dance numbers, one of which features Scarlett Johansson and a beautiful array of synchronized swimmers, and the other showcasing the singing and dancing ability of Channing Tatum. These are both so well executed, and again, are reminiscent of films of the era.

You should definitely watch this film if you haven’t done so yet. No matter what your taste, you will find something to love about it.

8 1/2 out of 10.