#JojoRabbit : Taika Waititi knocks it out of der park with the meaningful lunacy of his anti-hate satire. Title 10-year-old, a Nazi in training with Hitler as an imaginary friend, has something to learn: love conquers hate, and laughter makes it easier.
#TIFF19 pic.twitter.com/V1eI5QFLvG- Peter Howell (@peterhowellfilm)
September 9, 2019 The
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Extremely Loud & Incredibly Jojo
- Richard Lawson (@rilaws) September 9, 2019
JOJO RABBIT: it’s the “The Goldfinch” of movies about kids who are imaginary best friends with Hitler. hurts me how little I liked this. #tiff19
- david ehrlich (@davidehrlich) September 9, 2019
My #TIFF19 review of the disappointing JOJO RABBIT. https://t.co/W7H8dV7hmj
- Tim Grierson (@TimGrierson) September 9, 2019
JOJO RABBIT: Taika Waititi's proven himself to be remarkably good at portraying weighty themes from the perspective of a child, but I really, really don't think he managed to thread the needle with this one #tiff pic.twitter.com/lfCiuwGcEB
- Alison Willmore (@alisonwillmore) September 9, 2019
I'm here for Thomasin McKenzie being a breakout supporting actress contender though, she gives me more leverage for a ( ... )
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ETA this was a general reply not just to you oops
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Yeah I started having that think after I heard about The Best of Enemies. One movie (Three Billboards) was one thing. But to have that right after? And now this? He already has his Oscar so I feel there has to be another reason he's been letting himself get typecast lately. And if it's the reason it might sadly be then RIP Guy Fleegleman.
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Yeah his acting in the trailer alone was...... meh.
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At the risk of putting too fine a point on it, Ansel Elgort cannot really act. In most of his work, that doesn’t matter much; he’s a perfectly adequate Unthreateningly Handsome Teen in something like “Divergent” or “The Fault in Our Stars,” and in “Baby Driver,” he’s basically a puppet in the hands of a stylish director who’s figured out how to manipulate him into something resembling a human being. Alas, that won’t do in “The Goldfinch,” the new adaption of Donna Tartt’s novel from director John Crowley (“Brooklyn”). Elgort is insufferably miscast as the story’s protagonist, Theodore Decker; we’re told he’s a dashing, knowledgeable antique furniture salesman with a dark past and secrets a-plenty, but he looks like a kid in a high school play who borrowed his dad’s glasses and suit in a failed attempt to look like a grown-up ( ... )
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Never gonna unsee that now.
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