DIREKTIONZ’s review published on Letterboxd:
Since the last time I’ve seen this film (in theaters) I was kept reminded by how brilliantly emotional the ending of Jojo Rabbit actually is. The song, the gestures, it really hit the spot. But I wasn’t entirely sure, if I’ve seen an amazing film or really a quite insensitive film. In fact, a comedy about Nazi Germany just can’t work on paper. It’s a terrible idea. Jojo Rabbit justifies this by functioning as a satirical portrayal of the propaganda in my country JUST 76 years ago (and I could include the fucking DDR from 31 years ago). People were brainwashed in some ridiculous ways and this film stretches these ideas to no end. That’s by no means a flaw, more an observation. In fact, a defense of the hate this film partly gets by critics and wannabe critics on Letterboxd (I’m just joking here).
The issue that I have, however, is that not all jokes land. Many unfortunately. I don’t think that Jojo Rabbit is one of the funniest comedies of recent years, but its shifts to a serious tone (especially in the 3rd act) work wonders. Some of the camera movements are fantastic, even if it doesn’t reach the works of Wes Anderson. It’s the work of fucking Taika Waititi and it works beautifully. The emotions all land.
And how they do. The ending is still the best aspect about this film and the writers found a beautiful way of building up to its ending. Jojo Rabbit isn’t quite a “kids” movie as some traits of this might assume the opposite. It cleverly changes tone and keeps in mind that the time was a horrible one (words simply can’t describe it), while having a beautiful and emotional message at the end. And it ends with some of the greatest songs ever written!
I think Jojo Rabbit is a great and highly emotional film that especially works in the spectacular 3rd act. It satirizes the propaganda of Nazi Germany effectively in the mind of a brainwashed kid, while the change of his arc modifies the tone of this film and leads to one of the most emotional endings of recent years. Not without it flaws, but a film that ends with David Bowie can’t be bad