I’m already starting to dread the inevitable onslaught of movies and fictional narratives tackling the COVID crisis, and I don’t know if that’s ever going to be truly inviting for me. After the near year of pandemic fatigue, I can’t see myself wanting to relive the experience through my media. Naturally, this is partially because of how fresh everything is. Years down the road I may hold a different opinion and find COVID-19 stories more engaging. I’m sure there will be worthy ones to explore with the best storytellers that movies and television can afford. Right now, I’m not looking forward to the rom-coms about couples being forced together, or forced apart, and I’m not looking forward to the zombie movies that seem all too obvious in commentary. It is with this context that I watched the new 2021 movie Locked Down with wary curiosity. It was filmed during the quarantine in London over 18 days. It stars big actors, has a director and writer who have worked on highly esteemed projects, and it’s the first big project to feature the pandemic while we’re still in the middle of a worldwide pandemic. It has temporary notoriety but is it any good?
Linda (Anne Hathaway) and her husband Paxton (Chiwetel Ejiofor) are stuck at home like everyone else in London thanks to COVID-19. He’s struggling for work and she’s struggling with the mental weight of her job and the impending knowledge her friends and co-workers will soon be laid off by Linda herself. The couple is also heading for a divorce, though they’re keeping that quiet from concerned family members checking in. Paxton’s sense of self is falling apart, and the rebellious biker who got into one unfortunate bar fight long ago seems to be fading. Now he doesn’t know what he’ll be and he’s forced to sell his prized motorcycle. Linda gets the idea to pull off a jewelry heist that she and Paxton have an unique opportunity for. Could it be the thing that makes them feel excited again? Could it bring them back together?
Locked Down has some significant tonal shifts but more so in ambition than execution, because at its core its really a talky, mumblecore relationship drama, but one that I found a little too lax and shapeless and ponderous to jibe with. Screenwriter Steven Knight can be a tremendous writer. He’s written Eastern Promises, Locke, Dirty Pretty Things, and created Peaky Blinders. He knows plot, he knows character, he knows structure. This, though, doesn’t feel so much like it was a script needing to be told as it was an experiment in could they make a movie about the pandemic and film it during the pandemic. The heist elements are rather haphazard and ultimately mean little to the overall storyline, merely serving as an instrument to reconcile our couple and force them to rely upon one another for a shared triumph (this shouldn’t be a spoiler). I think your overall view of Locked Down will depend upon your opinion of how the heist elements are handled. If it seemed like the start of something more exciting, more engaging, then you’ll be disappointed. If you didn’t care about the particulars of a heist during COVID times, and you didn’t want a more purely genre plot device to take over from the character-driven relationship drama,then you might be more charitable. For me, I love heist movies and the formula is ready-made for payoffs and entertainment. However, I also enjoy character-driven relationship dramas but I just wasn’t connecting with this one.
The characters of Paxton and Linda felt too overly written for me and lacking the more intriguing nuances that I find in the best of observational mumblecore cinema. To be fair, being overly written is not an indictment in itself. Quentin Tarantino characters are overly written and we love them. Viewers love big characters that demand your attention and equipped with monologues that we wish we could recite when life’s challenges afforded us the opportunity to wax poetic. The central agreement we have with characters, whether they’re realistically drawn or idiosyncratic or cartoonish, is that they need to at least be interesting. You need to want to spend time with the characters.
With Locked Down, I was getting as restless as the onscreen couple. I didn’t find them interesting because the same character notes were being hit over and over with little variation. The monologues, while having moments of life and personality, didn’t provide me greater insight at minute 80 than they did at minute 40. The experience felt like watching actors workshop characters and looking for extra meanings that seemed to be elusive. Listening to these characters talk more should make them more interesting, make them more personable, and make them more complex, right? While they uncork some well written asides, they’re each just rubbing the same nub of an identity crisis. The pacing also made the repetitive portions feel even longer. The metaphor of what Paxton’s motorcycle represents is so overblown and simplified. After spending so much time listening to these two bicker and argue in the same rooms, I was hoping for the heist as a needed escape, something that could finally serve to motivate the characters out of their pity parties and force them into a new conflict. I needed something, anything more to hold my waning attention. Alas, I finished Locked Down in the same patient, pursed-lip stupor as it began. These characters did not deserve this much extra breathing room.
I like Hathaway (Colossal) and Ejiofar (12 Years a Slave). Watching them leap into what is essentially a two-hander filmed play sounds like a good bet for entertainment, especially with a writer with the credentials of Knight (we’ll ignore the outlandishly bonkers 2019 Serenity). Hathaway and Ejiofor are good together too. They have a spark that works, her anxiousness melding well with his dismissive pessimism. Again, the characters they’re portraying aren’t poorly written. There just isn’t enough polished material for them. That’s why each feels like they’re grasping to discover the character like it’s being formed in the moment. The entire movie feels like an overextended improv workshop everyone involved is developing in the moment. Good mumblecore movies can make you feel like a fly-on-the-wall with real people, but these characters are so overly written that an improv feeling doesn’t so much replicate the recognizable rhythms of life as it does an ungainly acting class in search of more direction and discretion. There are some other celebrity appearances in the form of Zoom cameos, and that’s something I’m not looking forward to with the incoming COVID movies, the ugly selfie aesthetic prevalence.
Locked Down feels more like an experiment to see if the filmmakers could make a movie under such unique and trying circumstances. It feels more like an acting exercise in need of more development and a little more vitality. There are fleeting moments that seem to tap into a universal despair and uncertainty many of us have wrestled with during our COVID isolation, but then the movie will just as likely throw in a hidden patch of poppies in a garden and a joke about nobody seeming to recognize the name Edgar Allen Poe. I watched Locked Down over the course of two nights, and mt girlfriend and I literally had forgotten we watched the first hour until coming across it again and going, “Oh yeah, we need to finish that after all.” I feel like that sums up the movie well. Within a day, I had already forgotten it, and that was before I even finished the full movie. They made a movie during COVID. Now make better ones in the future.
Nate’s Grade: C
Writer/director Taika Waititi has played a vampire, an intergalactic rock monster, and now perhaps the most challenging role of his career, Adolf Hitler. Coming off his meteoric success with the MCU, Waititi is using the time in between mega-budget Thor sequels to write/direct/produce/co-star in a smaller daring indie comedy. Jojo Rabbit follows a young German boy, Jojo (Roman Griffin Dais), during the last year of World War Two. He fantasizes about having an imaginary Hitler (Waititi) as the voice over his shoulder, reinforcing the teachings of adults and authority figures. His worldview is challenged when he discovers a teenager hiding in the family’s walls who just happens to be Jewish. Jojo doesn’t know what to make of Elsa (Thomasin McKenzie), nor does she know what to make of him, and Jojo decides to keep her presence a secret to spare his doting and put-upon mother (Scarlet Johansson). Jojo tries interrogating this wily girl but ends up learning more than he ever imagined.
Given the subject matter, setting, and overall tone, it’s a wonder how well Jojo Rabbit works. I was worried about what kind of tone the movie would be striving for given the delicacy of its subject matter, not that other filmmakers have shied away from incorporating comedy into Holocaust settings. I don’t mean this to be overly flippant but for portions of the movie I felt like I was watching “Wes Anderson’s Nazi Germany.” The entire Act One camp sequence feels like a warped deleted scene from Moonrise Kingdom. I was genuinely surprised how often I was laughing with Jojo Rabbit. Waititi can be hysterical as a bratty, temperamental version of the Fuhrer, but there are moments where he gets caught up in the oratory of his hateful rhetoric that serve as a reminder that even for Jojo, he realizes this man isn’t exactly best friend material. The Hitler imaginary friend goes away for long stretches in the second half as the film emphasizes more drama, which is the right choice as Jojo is coming to doubt what he has been taught from that imaginary friend. The portrayal of Hitler might be offensive to some viewers but I feel like Waititi walks a fine line to root it from the perspective of childhood fantasy. It’s taking the figure on TV and adapting it to suit the needs of a lonely kid wanting to belong. Of course he’d want Hitler to select him as the best little young Aryan that Germany has going. It’s not dismissing the evil of the man but instead serving him up through a specific prism that allows laughter not necessarily even at Hitler himself but at a youthful and immature understanding of something far more complex.
I was also worried that the comedy might dampen some of the more dramatic turns coming, and this was so not the case. There are dramatic moments hiding under the surface thanks to seeing them from Jojo’s naïve perspective, but then there also big obvious dramatic moments of suffering that hit. As much as the whimsy prevails early, the dramatic moments are delivered in tasteful ways that do not detract from the feelings being felt by the characters as well as the willing viewers. There are a few gut punches that remind you that even with the whimsy of childhood naivete, real people are dying in awful ways because of those complicit in racist genocidal policies. The relationship between Jojo and his mother is the second most significant one, after he and Elsa, but it’s this central focus where we see the starting point of his character arc. His mother tries to shield her child from the larger terrors of their society but that’s increasingly difficult when people are being hanged in the street for helping Jews. She’s hoping to simply play her part in public, get through this terrible time, and finally have the son back that she knows, hoping he will eventually shake free from the propaganda. It’s a role that requires Johansson to play like another cartoonish adult, all bubbling energy and quirky nonchalance, while burying her increasing concern. Part of me almost wishes that she was a co-equal protagonist so we could get an even richer perspective to contrast more fully.
There’s a sprightly whimsy to the proceedings that comes from being locked into the perspective of an imaginative child. It’s not that the world is 100 percent his vision, it’s more that we know that the representation of what we’re seeing might not be a completely objective reflection of the reality Jojo is encountering. This especially includes the portrayal of many adults involved in various levels of the Nazi party. They play out like cartoons and buffoons but are still dangerous cartoons and buffoons. When Jojo’s childhood friend Yorki is talking about fighting on the front and we see him handling a rocket launcher, this is clearly an exaggeration of the desperation of the moment and a young boy’s eagerness to be involved. This creative approach allows Waititi to dabble in the fantastic and keep his audience alert, allowing them to second-guess what we’re seeing on screen and look for the reality in hiding. I laughed pretty consistently at the intended humor and incredulous nature of the adults trying to pass off wrongheaded insights and suggestions as scientific fact or common sense. It’s a movie where you laugh at the ridiculous idiots while hoping that the idiots won’t get the people we care about killed.
The acting is very strong overall. Newcomer Roman Griffin Davis is exuberant and relatable without coming across as overly cloying or mannered, which can be a rarity for child actors. He has a very difficult role to play from a tone and perspective standpoint, and he succeeds. Another great child actor is Thomasin McKenzie (Leave No Trace) as Elsa, a young girl in an extremely vulnerable position who looks upon this new boy with equal amounts fear, disdain, and pity. She cannot be herself and must choose her words and responses carefully, so it’s a guarded performance of restraint but McKenzie is fabulous in quieter, subtler shifts. The adults are all enjoyable as broadly comical cartoons, with Stephen Merchant (Logan) earning considerable unease as an S.S. officer leading a team sweeping for Jews in hiding. Johansson (Avengers: Endgame) seems a little too eager, a little too antic, but this may pertain to her character’s nerves and desperation, trying to overcompensate her anxiety. Rockwell (Vice) gets the biggest adult role as a disenchanted military vet who sees the writing on the wall. At first his detached nihilism is a source of dark comedy and later he becomes an unexpected father figure for Jojo. I don’t quite know if his hero moments have the desired impact but he’s still an amusing presence.
However, there are also some drawbacks to being a fable, namely a lack of larger specific substance beyond general lessons and general characterization. Jojo Rabbit is being billed as an “anti-hate satire” and I definitely think that summary fits the intent, but “anti-hate” sounds like such a nebulous buzzword that seems more meaningful at first glance and less upon reflection. I would assume every responsible story set during the era of the Holocaust would adopt an “anti-hate” sensibility, because the alternative would be championing the foundations of Nazism. It’s hard for me to imagine any movie desiring a public release being anything other than “anti-hate.” Essentially, we have a character coming to see through the propaganda of the era, judging people as people rather than scary caricatures, and start to reject the teachings of manipulative authority figures. This isn’t a new formula for coming-of-age stories or tales set during times of great strife. It’s a lesson in empathy and rejecting dogma on its face. When it comes to Nazism, that should be the easy part, facilitated by any prolonged exposure to anyone previously deemed an undesirable.
My nagging issue with Jojo Rabbit is that for all its impish whimsy with such a serious historical subject, it ultimately plays things pretty safe. That’s fine, it doesn’t have to a revolutionary film, but it does dull the message a bit when the ultimate lasting takeaway is “hate is bad, Jews are people too.” It’s a bit pat, a bit simple, and a bit too easy. The characterization can also be hampered by this same ethos. The characters are pretty much exactly what you see at first blush. The only character who changes or has room to explore is Jojo. Even Elsie feels more like a stagnant person despite her unique circumstances. This may be because she’s more change agent than character, a figure for Jojo to be horrified by, then entranced with, and finally see as a friend. I still felt moments of genuine emotion for characters onscreen and for Jojo’s journey of self. The movie still works well with its stated goals and direction, it’s just a bit limited because of the simplicity of its message and the lack of greater substance for its many characters.
The Jojo Rabbit novel was written before the rise of Donald Trump but Waititi has said that when they were filming that America’s current political climate was on his mind, and it’s not hard to make a few adaptations to apply this for the modern era. Perhaps a young boy sees Donald Trump as his imaginary friend and together they’re both all-in on trying to “make America great again” by first and foremost reporting any immigrant they see as illegal. Then later in the story he discovers his family is willfully hiding an undocumented child from being deported after they were stripped from their parents who were then deported. Now our naïve protagonist must reconcile the harsh rhetoric he has been taught with the growing empathy of connecting with another human being who doesn’t seem as dangerous or as sub-human as others claim. If you wanted to even make this parallel, it’s there, though I think that diminishes the setting. We shouldn’t need to tell movies during the Holocaust as metaphors for our modern struggles. I suppose this is another scenario where if you want to Inuit more of a relevant modern message, you can.
Jojo Rabbit (a nickname that seems forgotten after its christening) is a coming-of-age fable with equal parts charm and horror. Waititi takes a serious subject and doesn’t mitigate the evils of Nazism with his portrayal of a daffy imaginary Hitler. The production has an admirable swagger to it as it charts its own course, tackling serious subjects and young whimsy to portray a poignant story about childhood, loss, and growing up. It’s an amusing and heartfelt enterprise that I can’t help but feel could have done more than settling for some pretty safe messages and limited characterization. There wasn’t a moment with Jojo Rabbit where I wasn’t entertained, but I do wish the movie had more on its mind that reminding everyone that hate is bad.
Nate’s Grade: B
There were two driving reasons why I chose to go see Movie 43, the collection of 13 comedy sketches from different writers and directors. First, the red band trailer made me laugh, so I figured it was worth a shot. If one sketch didn’t work, there was always another ready to cleanse my comedic palate. The other reason is that I have been compiling sketches written by myself and my friends with the intent to make my own sketch comedy movie in 2013. Part of me was also concerned that something so high-profile might extinguish my own project; maybe we came up with similar material with sketches. After watching Movie 43, a tasteless, disconnected, and ultimately unfunny collective, I have renewed hope for my own project’s success.
Like most sketch comedy collections, Movie 43 is extremely hit or miss. This ain’t no Kentucky Fried Movie or even the Kids in the Hall flick. Rating this worth viewing depends on which side racks up the most. Unfortunately, there’s more terribleness than greatness on display, but allow me to briefly call out the film’s true highlights. The best segment in the movie, the one that had me laughing the longest, was a bizarre fake commercial that does nothing more than presuppose that machines, as we know them, are really filled with small children to do the labor. Seeing little urchins inside a copy machine or an ATM, looking so sad, with the faux serious music welling up, it made me double over in laughter.
With the actual vignettes, “Homeschooled” and “Truth or Dare” where the standouts that drew genuine laughter. “Homeschooled” is about a mother and father (real-life couple Naomi Watts and Liev Schreiber) giving their son the total high school experience, which amounts to degrading humiliation. Dad makes fun of his son’s penis in the shower. Mom and Dad throw a party with the cool kids but don’t invite their son. Dad tapes his son to a flagpole. The kid gets his first awkward kiss thanks to his mom. It’s outrageous without falling victim into being crass for the sake of crass, a common sin amongst many of the vignettes. “Truth or Dare” starts off innocuously enough with Halle Berry (Cloud Atlas) and Stephen Merchant (Hall Pass) on a blind date. As the date progresses, they get into an escalating game of truth or dare that each has them doing offensive acts, like blowing out the candles on a blind kid’s birthday cake. This segment knows when to go for broke with it silliness and it doesn’t wear out its welcome, another cardinal sin amidst the other vignettes.
But lo, the unfunny sketches, or more accurately the disappointing sketches, outnumber the enjoyable. Far too often the sketches are of the one joke variety and the comedy rarely leaves those limited parameters. So a sketch about a blind date with a guy who has testicles hanging from his chin (Hugh Jackman) is… pretty much just that. There’s no real variation or complications or sense of build. It’s just that. A commercial about an iPod built to model a naked lady is… exactly that and nothing more. A speed dating session with famous DC superheroes like Batman (Jason Sudeikis), Robin (Justin Long), Supergirl (Kristen Bell) and others should be far cleverer than what we get. While I laughed at the sports sketch “Victory’s Glory,” it really all boils down to one joke: black people are better than white people at basketball. That’s it. “Middleschool Date” starts off interesting with a teen girl (Chloe Grace Moritz) getting her period on a date and the clueless men around her freaking out that she is dying. However, this is the one sketch that doesn’t go far enough. It really needed to increase the absurdity of the situation but it ends all too quickly and with little incident. “Happy Birthday” involves two roommates (Johnny Knoxville, Sean William Scott) interrogating an angry leprechaun (Gerard Butler) for his gold. It pretty much just sticks to slapstick and vulgar name-calling. That’s the more tiresome aspect of Movie 43, the collective feeling that it’s trying so desperately to be shocking rather than, you know, funny.
The worst offenders of comedy are the scathingly unfunny “Veronica” and “The Proposition.” With “Veronica,” Kieran Culkin tries to woo his lady (Emma Stone) with a series of off-putting sexual remarks, delivered in an off-putting “bad poetry delivery” manner, while the film is off-puttingly shot with self-conscious angles that do nothing for the comedy. It’s a wreck. “The Proposition” is just one big poop joke. It’s far more gross than gross-out.
The frame story connecting the varied vignettes is completely unnecessary. Well, I suppose there is one point for its addition, namely to pad out the running time to a more feature-length 94 minutes. The wraparound storyline with Dennis Quaid pitching more and more desperate movie ideas never serves up any good jokes. Its only significance is to setup an ironic counterpoint that gets predictable and old fast. Example: Quaid says, “It’s a movie with a lot of heart and tenderness,” and we cut to a couple that plans on pooping on each other. See? You can figure out its setup formula pretty quick. I don’t understand why the people behind Movie 43 thought the perfect solution to pad out their running time was a dumb wraparound. These sketches don’t need a frame story; the audience is not looking for a logical link. For that matter why is the guy also pitching commercials? I would have preferred that the frame story was completely dropped and I got to have two or three more sketches, thus perhaps bettering the film’s ultimate funny/unfunny tally.
There will be a modicum of appeal watching very famous people getting a chance to cut loose, play dirty, and do some very outrageous and un-Oscar related hijinks. The big name actors do everything they can to elevate the material, but too many sketches are one joke stretched too thin. I suppose there may be contingents of people that will go into hysterical fits just seeing Hugh Jackman with chin testicles (I think the Goblin King in The Hobbit beat him to it), just like there will always people who bust a gut when a child or an old person says something inappropriate for their age, or when someone gets kicked in the nuts (the normal ones). I just found the majority of Movie 43 to be lacking. It settles far too easily on shocking sight gags and vulgarity without a truly witty send-up. It wants to be offensive, it gleefully revels in topics it believes would offend the delicate sensibilities of an audience, but being offensive and being funny are not automatically synonymous. You have to put real work into comedy. Movie 43 isn’t it.
Nate’s Grade: C-