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Directed by : Mick Audsley, Charles Dickens, Kevin Loader, Sarah Crowe, Suzie Harman, Armando Iannucci, Armando Iannucci, Armando Iannucci, Simon Blackwell, Celia Duval

Produced by : Mick Audsley, Charles Dickens, Kevin Loader, Sarah Crowe, Suzie Harman, Armando Iannucci, Armando Iannucci, Armando Iannucci, Simon Blackwell, Celia Duval

Starring : Dev Patel, Peter Capaldi, Ben Whishaw, Tilda Swinton, Gwendoline Christie, Hugh Laurie, Anthony Welsh, Aneurin Barnard, Divian Ladwa, Rosalind Eleazar

Company : FilmNation Entertainment, Film4 Productions, Searchlight Pictures

Release date(s) : 2019-11-07

Running time :119 Minutes

Country  : United States

Language :English

Budget :  $15,600,000

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Based on Charles Dickens' novel, The Personal History of David Copperfield is the first Armando Ianucci's film I ever watched. I didn't really know much about this movie besides its stellar cast. I'm not the biggest fan of biographical works. Usually, I find them too constricted to the genre's formulas, and if I don't think the protagonist's life is remotely entertaining, then the whole film crumbles. Fortunately, it's not the case of this Ianucci's adaptation. It's one of the most pleasant surprises of the year, I finished it with a massive smile on my face.

David Copperfield's life is portrayed in such a captivating, entertaining, genuine, heartfelt manner, but always maintaining this sort of lightness. There's always something positive coming out of even the worst of situations. Actually, I think that's the best message transmitted to the viewer: it doesn't matter how horrible your life might be at a particular moment, it will only get better if you don't give up, and if you surround yourself with true friends and family. Throughout the runtime, David shares his life with different families and friends, working and living in the poorest and wealthiest places.

His lifestyle changes drastically after each new significant development in his journey to become a writer, and it's such a joy to watch him grow up. From working like a slave in a factory and being homeless to living in a boathouse and eventually in a mansion like a true gentleman, David goes through all of the obstacles life throws at him, learning from them to become a better person. A really nice touch is the distinct names that people call him throughout his life, depending on where he lives/works and who's he talking to: Davy, Doady, Daisy, Trotwood… These might be merely different nicknames for David, but they mean much more. They're a tiny yet efficient detail that remarkably distinguishes his unique lifestyles.

Ianucci and Simon Blackwell do a terrific job with the screenplay, by offering Dev Patel an exceptional platform to shine. The whole cast delivers outstanding performances that elevate the movie in an invaluable way. Patel is an excellent protagonist, and I don't want to diminish his extraordinary display, but he's only as great as his counterparts. Tilda Swinton (Betsey Trotwood) and Hugh Laurie (Mr Dick) form a hilarious couple, deeply important to help David rise from the ground. Peter Capaldi brilliantly portrays Mr Micawber, a family man with immense debts, who teaches young David (impressively represented by Jairaj Varsani) how London works by escaping his creditors.

Darren Boyd and Gwendoline Christie use their physical attributes to interpret the evil Murdstone brothers, who employ extreme, violent measures to educate David. Everyone involved in bringing the Peggotty family to life is as essential as the family's importance to the protagonist. Benedict Wong (Mr Wickfield) shows his funny side once again, as Morfydd Clark is charming enough as Dora Spenlow and Clara Copperfield. Aneurin Barnard (James Steerforth) becomes David's best friend, but his final arc doesn't quite fit the film, in my opinion, prolonging the latter for a few unnecessary extra minutes.

So, as you might have figured, every cast member has a vital role to play in some shape or form. All are incredibly fun to watch, making this two-hour flick flow tremendously well. Technically, the production and costume design are award-worthy. The XIX century streets, houses, and clothes are really immersive, creating a realistic environment, elevated even more by the subtle yet powerful score (Christopher Willis). Seamless editing (Mick Audsley, Peter Lambert) and impeccable cinematography (Zac Nicholson) also help the movie's pacing and even contribute for a few transition jokes.

All in all, The Personal History of David Copperfield is one of the most entertaining biographical works I've ever seen, as well as one of the most pleasant surprises of 2020. It's one of those films that leaves you with a huge smile, from ear to ear. As the viewer, watching David Copperfield's journey to becoming a writer is so captivating and fun, not only due to the humorous screenplay, but mainly because it's such an honest, emotional, genuine story. Only a few minutes in, and I already wanted him to succeed in life. My emotional attachment to the protagonist was so strong that I couldn't help myself drop a couple of tears by the end. I don't have enough words to describe how wonderful every cast member is and how important each role has in David's life. Dev Patel is an impressive lead, but his performance is elevated by the work of his counterparts. It's technically flawless, but the story and its characters make this movie an absolute delight to watch.

Definitely, one of the best films of the year, so don't you dare miss it!

Rating: A-
This has really been a banner year for the period film. We've had Gerwig's spectacular 'Little Women', Autumn de Wilde's wondrous adaptation of 'Emma.', and on television, the bombastic imagination of 'The Great'. Armando Iannucci's 'The Personal History of David Copperfield', even with its flaws, sits beautifully beside them. This film left me giddy with joy, my eyes filled with tears, leaping from my seat with every rapturous surprise and unexpected burst of imagination. It brims over with humanity, humour and heart, and reminds us of the importance of these things for a rich and satisfying life. This is an absolute gem of a film, and one of my favourite of this year so far.
- Daniel Lammin

Read Daniel's full article...
https://www.maketheswitch.com.au/article/review-the-personal-history-of-david-copperfield-a-rhapsodic-delight-on-taking-ownership-of-our-own-stories

Directed by : Jennifer Lee, Jessica Kelly, Todd Antonio Somodevilla, Ian Hultquist, Karen Maine, Karen Maine, Brittany Loar, Rebecca Dealy, Katie Cordeal, Colleen Hammond

Produced by : Jennifer Lee, Jessica Kelly, Todd Antonio Somodevilla, Ian Hultquist, Karen Maine, Karen Maine, Brittany Loar, Rebecca Dealy, Katie Cordeal, Colleen Hammond

Starring : Natalia Dyer, Alisha Boe, Francesca Reale, Timothy Simons, Donna Lynne Champlin, Wolfgang Novogratz, Parker Wierling, Susan Blackwell, Allison Shrum, Tre'len Johnston

Company :

Release date(s) : 2019-03-08

Running time :78 Minutes

Country  : United States

Language :English

Budget : 

Storyline :

Directed by : Francine Maisler, Noah Baumbach, Noah Baumbach, Noah Baumbach, Douglas Aibel, Kathy Driscoll, Randy Newman, Randy Newman, David Heyman, Goro Koyama

Produced by : Francine Maisler, Noah Baumbach, Noah Baumbach, Noah Baumbach, Douglas Aibel, Kathy Driscoll, Randy Newman, Randy Newman, David Heyman, Goro Koyama

Starring : Adam Driver, Scarlett Johansson, Laura Dern, Alan Alda, Ray Liotta, Julie Hagerty, Merritt Wever, Azhy Robertson, Wallace Shawn, Martha Kelly

Company : Heyday Films

Release date(s) : 2019-11-06

Running time :137 Minutes

Country  : United States

Language :English

Budget :  $19,000,000

Storyline : I wish so badly I could separate the art from the artist, and this is the only reason I cannot give ‘Marriage Story’ the five stars it actually deserves. My own issues with Baumbach aside, however, and it’s shocking to me that a film so simple can be so nearly flawless (I mean this technically too; the film is shot, edited, paced and scored beautifully). Despite how much I cried, it finds beauty and comedy in the tiniest of moments. It’s an ugly portrait of two flawed people and therefore never easy to watch, but it is one of the most rewarding experiences I have had with a film in years. I just hope I never have to experience it myself.
- Ashley Teresa

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https://www.maketheswitch.com.au/article/review-marriage-story-simply-extraordinary
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I don't even know how to start this review… Marriage Story is one of those movies that stays with me long after I've finished it. I've been thinking about it a lot, and it's undoubtedly one of the most realistic dramas I've ever seen. That's due to the award-worthy performances of Adam Driver (Charlie Barber) and Scarlett Johansson (Nicole Barber), but also because of Noah Baumbach's incredibly layered screenplay. In addition to this, Baumbach is undeniably one of the best directors of the year. With the help of his DP, Robbie Ryan, he sets the platform for Driver and Johansson to shine as the astonishing actors that they are.

Some people watch films to forget their daily issues. Some just want to have fun. Some want to learn more about a particular true story. However, there's not a single person alive who wants to watch a movie and not be able to leave the theater (or, in this case, their couch) entertained. Marriage Story has such an emotionally complicated premise that it's tough to convince people to sit and watch. I mean, who wants to watch a divorce develop throughout more than two hours? Who wants to watch two people who were once in love with each other become the worst of themselves? Yelling, fighting, court, custody, lawyers… It's not exactly an attention-grabber.

I imagine people who went through the same situation getting triggered and remember a phase of their lives that was probably one of their worst. I'm writing this because I've seen some negativity towards people who simply don't want to watch Baumbach's depiction of a depressing event. It's perfectly understandable if anyone decides to skip this one, especially if it hits too close to home. In my case, I've never gone through a divorce (hopefully, I'll never will), and usually I can "enjoy" this type of sad, frustrating, bittersweet films (Manchester by the Sea, A Ghost Story) for what they are, no matter how tragic.

If I had to choose one-word praise: realistic. There's no way around it. The palpable emotions are the main reason why this story works so well. Only people who have never been in a relationship of any kind can't understand the moment when a fight starts to escalate, and the couple begins to say terrible stuff at each other that they don't exactly mean. The exaggeration and over-the-top arguments are part of every couple's life. They can occur due to a hundred reasons related to stress, work, accumulation of little things, or simply because it's just not a good day.

Marriage Story doesn’t deliver a hopeful message or a sweet story because that’s not what divorces are. It’s not difficult to imagine how hard it is to separate yourself from the person you love(d) for years without end, even more when there’s a kid involved in the process. Baumbach could have followed the genre cliches and provide moments of pure happiness, but that’s not something that happens during a situation like this. It’s a heart-wrenching phase to live through, and I believe that this movie is going to be thoroughly analyzed in film school in the next decade or so.

THE scene with Driver and Johansson going at each other exponentially harder and heavier criticism-wise is one of the most emotionally powerful dialogues of the millennium. The raw emotion and the physical movements that both actors can bring into the fight are absurdly impressive. Their chemistry is so inexplicably real. I never, not even for a single second, thought that I was watching fictional characters. Nicole and Charlie can very well be our neighbors or part of our family. Baumbach's use of long takes really elevate every single sequence, allowing the protagonists to move around the set and actually act.

Technically, there's no better acting this year than what Driver and Johansson deliver. Both are always moving and doing a lot of things while giving their lines. Making dinner, drinking tea, going to the bathroom, chopping a carrot, blowing their nose, standing up, sitting down, walking around the room, crying, smiling, laughing… All of this in a single take! Several times!! Scarlett shows more emotion throughout the runtime than her counterpart, but Adam proves why he's the frontrunner at the 2019's Oscars. His restraint when Charlie is trying to be polite even though he's mad, or his explosive behavior when his character decides to finally let go (excellent build-up), are some of the attributes that make his performance my favorite of the year.

Not trying to diminish Johansson's display. Both deliver career-best performances, in my opinion. Both deserve every award that exists. The supporting cast is also impeccable, and I know that Laura Dern (Nora Fanshaw) is probably going to be nominated. Still, the two leads are so engaging and captivating that I couldn't be impressed with anyone else. The only person to rise to the main actors' level is Noah Baumbach himself. With the best screenplay of 2019, he offers the audience an incredibly complex story, filled with subtle details and exceptional dialogue.

He controls the movie's pacing beautifully, and he knows the right moments to insert a little joke to lighten up the dark, depressing mood. My only issue with the film has to do with its replay value. We all have been through this situation: watching a fantastic movie, only once, and never again. Marriage Story is going to be one of those films for me. I love everything about it, but I know the chances of a rewatch are very, very small. It's a profoundly unsettling story, super uncomfortable at times, and I really don't want to go through the sadness and frustration all over again.

All in all, Noah Baumbach delivers what I believe to be its career-best flick, Marriage Story. With the best screenplay of 2019, as well as one the best directions, this is the closest the world is ever going to get to a realistic depiction of a divorce. Scarlett Johansson and Adam Driver also give the best performances of their lives, elevating every single scene, dialogue, argument, or joke. The long takes allow them to shine and actually work as actors, moving around the set and doing domestic/job tasks, while delivering their lines. Technically, both Baumbach and the entire cast are absolutely perfect. It's an extremely emotional narrative, very depressing, sad, and even uncomfortable at times, which might scare some people off, especially if they've been through this. Despite its replay value being affected (a rewatch is very unlikely), it's a phenomenal lesson in storytelling that stays with us long after it's finished. Easily, one of the best movies of 2019. Don't miss it, and try not to cry.

Rating: A
This movie is a thoroughly humane and sensitive portrayal of the painful process that is "divorce". Noah Baumbach, who himself had a divorce with actress Jennifer Jason Leigh, seems to have drawn from his own life experiences for this film. The characters are all balanced and multilayered; the acting of the leads, specially Johansson and Driver, lend a particular personality to their characters. Everyone plays their role to the perfection, even the supporting cast including Laura Dern, Alan Alda, and the criminally underused Merritt Wever. This movie shows how a process as messy as divorce turns two people who love and respect each other into one wishing death on the other. No, they are not bad people , they are just people under "bad" circumstances, and Marriage story drives that point home. Overall: a brilliant movie, and a great way to end the year.
I don't have a kid. I've never been divorced. Or even married. Though I guess I was once a kid myself, I'm not the product of a divorced couple. I'm not even the product of a married one. Everyone I know who has gotten married or had kids did it before I met them, or stopped hanging out with me almost immediately afterward. Everyone I've ever met who got divorced either did it before I met them, or is someone I stopped hanging out with beforehand. So I don't come to the subject of _Marriage Story_ with a wealth of experience, which means it doesn't exactly scream "relatable content" to me.

Let me start where it's easiest and everyone seems to agree: The performances. Everyone in _Marriage Story_ is pretty great, none of the characterisations changed my life, but I get it. As a chance to display what these actors are capable of in a mundane setting where all that matters is their performance, yes, absolutely, _Marriage Story_ has buckets of success.

Outside of this though... I'm not even going to say that it "fails" elsewhere, just that it didn't win me. I like bleak movies, I like movies that make me feel something, even if it's sad. But _Marriage Story_ isn't really that. It poses you the question of whether both Charlie and Nicole are good or bad people, and shows you each from their own and other's perspective. The ending seems to imply that they're good, or at the very least both good and bad (and aren't we all?) but that really doesn't matter very much when we just spent all this time watching both of them be horrible. I know that's life, that's real, that's people, and blah bl-blah bl-blah, but that's little consolation when I've just spent two-plus hours of my life being not at all compelled by a bunch of people being awful. Being awful convincingly, to the actors' respective credits, but in this setting that is not my idea of a good time at the movies.

46%

-Gimly
“I never really came alive for myself; I was only feeding his aliveness.”

I’ve said some harsh things about Netflix movies in the past, but recently I’m starting to warm up to them.

‘Marriage Story’ was absolutely excellent. A devastating portrayal of divorce that can bring out the ugly in people, especially with child custody. But it’s not all doom and gloom. It’s incredibly heartfelt with plenty of humorous moments. I guess you have to find the comedy during the difficulties in life. Lets just say my cheeks wasn’t dry afterwards.

And yes, I wept.

Adam Driver and Scarlett Johansson both gave masterclass performances. And I do mean some power house acting. Driver plays Charlie, a competitive and undaunted theater director that he is very clear about what he wants. Johansson plays Nicole, a mother who’s a delightful presence and loves to play, but is also a dedicated actor. This is the best I’ve seen from Johnasson. Her character delivers a monologue where she’s explains the issues in her life that’s all shot in one take, which brilliantly displays her acting chops where she naturally shifts from emotion to emotion - it was impeccable.

The supporting cast were all fantastic. Lauren Dern, Ray Liotta, Merritt Wever, Julie Hagerty, and Alan Alda were all brilliant and really bounce off the energy from Driver and Johansson. Even the child actor held his own between these juggernauts of actors.

Not only are the performances the strongest element of the movie, but so is the writing. Every character is so uniquely fleshed out that the conflict feels so incredibly raw. It’s one of the reasons why I was so glued to the movie from start to finish. One of the best screenplays of the year.

This is the first Noah Baumbach movie I’ve seen from him and I am aware of his other work, just haven’t got around to watching them. However, I feel like this was the best introduction to him as a director, because he crafted such a sympathetic look on marriage dissolving away. We don’t see the full relationship, but we do get to hear Nicole and Charlie individually describe what their love about each other, while there’s a montage that flash’s through their routine life together with their son. Nothing visually striking in the presentation, but not once did it feel stale.

The score from Randy Newman was terrific and fitted wonderfully with the movie. I loved the aspect ratio as it added a lot to the overall mood of the movie. When the two go head to head in the custody battle - that doesn't mean they’re enemies. They still talk to each other as if they are still a thing. It’s also hard to pick aside, because you understand where each of them are coming from, and even if you do choose, you still feel bad for either one.

Overall rating: Any other relationship movie ain't sh*t compared to this.

Directed by : Jeanne McCarthy, Scott Rosenberg, Scott Rosenberg, Stella Vaccaro, Ted Field, Louise Mingenbach, Dwayne Johnson, Steve Edwards, Gyula Pados, Andrew Max Cahn

Produced by : Jeanne McCarthy, Scott Rosenberg, Scott Rosenberg, Stella Vaccaro, Ted Field, Louise Mingenbach, Dwayne Johnson, Steve Edwards, Gyula Pados, Andrew Max Cahn

Starring : Dwayne Johnson, Kevin Hart, Jack Black, Karen Gillan, Awkwafina, Nick Jonas, Alex Wolff, Morgan Turner, Madison Iseman, Ser'Darius Blain

Company : Columbia Pictures, Seven Bucks Productions, HartBeat Productions, Matt Tolmach Productions, Teitler Film, Sony Pictures

Release date(s) : 2019-12-04

Running time :123 Minutes

Country  : United States

Language :English

Budget :  $125,000,000

Storyline : The film is punchy, landing some great jokes that will make you laugh out loud, with an entertaining, slightly predictable story. It wasn’t as good as the first 'Jumanji', but it is a great quality sequel and is full of family fun!
- Lily Meek

Read Lily's full article...
https://www.maketheswitch.com.au/article/review-jumanji-the-next-level-adventure-sequel-is-serious-family-fun
The Movie Was So Cool! I Want To Watch The Again And Again!
Fun and exciting. Highly recommended!
When it comes to constructing a successful sequel, sometimes it’s best not to mess with a proven formula. Such is the case with “Jumanji: The Next Level,” an energetic, rollicking, ridiculously amusing part two to the much-loved 2017 reboot (and surprise hit), “Jumanji: Welcome to the Jungle.” The storyline is nearly identical, but with a few twists thrown in for added amusement.

Now in college, buddies Spencer (Alex Wolff), Martha (Morgan Turner), Fridge (Ser’Darius Blain), and Bethany (Madison Iseman) are home for the holidays and can’t wait to see each other again. Spencer has been feeling a little depressed lately and, longing to feel that unbridled bravery again, decides to jump back into the game. It quickly becomes a rescue mission and the others must follow to get him out. But this time, the game has changed. Not only are the levels more challenging, the gang has unexpectedly picked up a couple of extra players — Spencer’s Grandpa Eddie (Danny DeVito) and his longtime friend Milo (Danny Glover).

The film was made for fans of the reboot, and it’s nearly impossible to be disappointed this second time around. It’s a fun reunion with likeable characters that you love spending time with. There are appropriate and enjoyable callback references to previous movie and, something that is rarely true of sequels, the quality stands up to it as well.

When the story adds a fun twist that mixes things up a bit, it allows the actors to really chew the scenery. All of the characters are out of whack, with only Martha going back into the game as her original character, the dance-fighting man-killer known as Ruby Roundhouse (Karen Gillan). Fridge is now the overweight cartographer Professor Shelly Oberon (Jack Black), and Grandpa Eddie has taken over as the hunky and fearless Dr. Smolder Bravestone (Dwayne Johnson). Zoologist Mouse Finbar (Kevin Hart) is now Milo, while Spencer re-enters the story as a brand new character (and one of the film’s best surprises).

It’s a given that Black will bring guaranteed laughs, but Hart and Johnson have very funny comedic timing and they play off each other so well. Their banter is consistently hilarious, especially when they are channeling their elderly avatar inhabitants. DeVito and his cantankerous shtick is a huge upgrade, as he delivers some of the biggest chortles in his all-too-brief supporting role.

There are plenty of exciting action sequences that complement the fast-paced fantasy adventure. The sense of real peril serves the film well, because it ramps up the emotional factor. So does the idea that friendship can foster a family, and by the end, this one will tug on your heartstrings.

The film gets right to the good stuff without a long or boring setup, and the story is roughly the same as its predecessor. There’s not much new plot-wise, but who cares when a movie is this much of a wild, entertaining ride?

Directed by : Ellen Lewis, Steven Kirshoff, Goro Koyama, Andy Malcolm, Bruce Winant, Oren Moverman, Don White, Leo Won, Leonid Lebedev, Craig Kyllonen

Produced by : Ellen Lewis, Steven Kirshoff, Goro Koyama, Andy Malcolm, Bruce Winant, Oren Moverman, Don White, Leo Won, Leonid Lebedev, Craig Kyllonen

Starring : Hugh Jackman, Allison Janney, Geraldine Viswanathan, Alex Wolff, Rafael Casal, Stephen Spinella, Annaleigh Ashford, Ray Romano, Hari Dhillon, Jeremy Shamos

Company : Sight Unseen Pictures, Automatik Entertainment, HBO Films, Slater Hall Pictures

Release date(s) : 2019-09-08

Running time :108 Minutes

Country  : United States

Language :English

Budget : 

Storyline :

Directed by : John Papsidera, K.C. Hodenfield, Rhett Reese, Rhett Reese, Rhett Reese, Christine Wada, Jeong Jeong-hun, Gavin Polone, Martin Whist, David Sardy

Produced by : John Papsidera, K.C. Hodenfield, Rhett Reese, Rhett Reese, Rhett Reese, Christine Wada, Jeong Jeong-hun, Gavin Polone, Martin Whist, David Sardy

Starring : Woody Harrelson, Jesse Eisenberg, Abigail Breslin, Emma Stone, Zoey Deutch, Avan Jogia, Rosario Dawson, Luke Wilson, Thomas Middleditch, Ronny Mathew

Company : Pariah, Columbia Pictures, Sony Pictures

Release date(s) : 2019-10-09

Running time :99 Minutes

Country  : United States

Language :English

Budget :  $42,000,000

Storyline : Even with its flaws, ‘Zombieland: Double Tap’ doesn’t overstay its welcome with its 99-minute run time, and remains a solid piece of popcorn entertainment. Although it doesn’t push any boundaries, it’s harmless fun (the Homer zombie of horror films, if you will... that’ll make more sense after you’ve seen it). So stumble into a cinema and join these friends on a reunion - sure, one filled with endless blood, guts and brains, but that’s half the fun of a zombie comedy, right?
- Charlie David Page

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https://www.maketheswitch.com.au/article/review-zombieland-double-tap-the-gangs-back-for-a-brainless-zombie-comedy-sequel
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As you probably know by now, since I posted the original film's review a few hours ago, I loved the first Zombieland. I defend that it's a zombie cult classic, and I was genuinely pumped for its sequel. It didn't go through any external controversy (something quite rare nowadays), the cast didn't say anything wrong in the interviews (haters didn't have enough words to twist this time around), Ruben Fleischer returns as the director, as well as Rhett Reese and Paul Wernick (plus a new member, Dave Callaham) as the screenwriters. If a studio wants to do a 10-year sequel, it might as well get the creators and original cast back together, right?!

That's what I love the most about Double Tap. It didn't lose the original's essence, and it didn't forget what made it so successful. The cast's chemistry can be felt thousands of miles away, but the new additions also fit in seamlessly. Zoey Deutch portrays Madison, a purposefully stereotypical "dumb blonde girl" who has some of the funniest scenes as well as some of the most cringe-worthy (Deutch gives an excellent performance, though). And Rosario Dawson plays Nevada, basically a women version of Tallahassee (Woody Harrelson), which means she has a bunch of badass action sequences. As for the old gang, well…

Everyone delivers great performances, but this time, Harrelson really elevated his character. Not only does he have the expected awesome kickass moments, but he also offers some emotionally compelling displays. Emma Stone (Wichita) and Abigail Breslin (Little Rock) keep being amazing as their characters, and Jesse Eisenberg (Columbus) does get a bit too … Jesse Eisenberg, but it never stops feeling natural, having in mind how his character acts. These four are the heart of the whole show. Hence, getting the original cast back together is halfway through success, even more than in the first movie. Story-wise is where I do have some complaints, unfortunately.

Maybe it's due to the fact that I watched 2009's Zombieland just a couple of hours before Double Tap's screening, but I wish that Fleischer and his team were more creative. Sure, the original was 10 years ago, and not everyone is going to rewatch the original (especially not right before), so it's expected that a lot of classic moments are recreated in some shape or form. However, for an extended period, I felt that I was watching the exact same film, just with older characters. I know I'm going to hear some of Columbus' original famous rules, but there's a surprising lack of new ones. I know Tal is going to repeat some of his catchphrases, but he's an imaginative guy, he can think of fresh ones (which he does say in the last minutes, but still).

To move the plot forward or actually make the story happen, a lot of questionable things occur, and not in the sense of them not being rational (it's not like Zombieland is a groundbreaking piece of storytelling). It's the apparent lack of character development through all of the years that have passed, and I'm not addressing their personalities being the same (it's pretty normal). To create this movie, characters make decisions that don't feel right, having in mind they spent so much time together. It's impossible for love, trust, and emotional attachment not to be developed throughout such a long time. So, while Little Rock's arc is understandable and relatable, Wichita and Columbus' lacks convincing arguments, in my opinion. Both make decisions too dumb for such intelligent characters, but I guess "that's love".

Once again, the technical features that defined the original so clearly are seamlessly employed in its sequel. Beautiful production design, cool soundtrack, fantastic application of practical effects and real sets, which nowadays are getting rarer. The slightly longer runtime still manages to carry a fast pace, which is always a good attribute, and it's packed with thrilling, hilarious, bloody action sequences. Amusing pop culture references, and the most significant moment of all: Double Tap has one of the best, if not THE best, mid-credits scene of the year! Don't you dare leave the theater, it's right at the beginning of the credits, so stay in your seat!

All in all, Zombieland: Double Tap pays a decent homage to the original zombie cult classic by getting everyone (cast and crew) back together, and delivering yet another entertaining flick. By maintaining the essence of the first film, Ruben Fleischer is able to capture the outstanding cast's chemistry, as well as present those amazingly entertaining action sequences. Even though the central narrative isn't as straightforward and interesting as in the original, it's still captivating enough for the audience to care about. There is an excessive amount of callbacks to classic catchphrases, rules, or moments, which shows a bit of a lack of imagination to create new material. While it's not as funny or entertaining as the 2009's movie, it's still a good time. If you're a fan of Zombieland, definitely watch it! If not, well… Nut up and watch it or shut up and let others enjoy it.

Rating: B
_**Just as funny and irreverent as the original, even if it hits all the same beats**_

> _I'd rather die while I'm living than live while I'm dead._

- Jimmy Buffett; "Growing Older But Not Up" (1981)

The original _Zombieland_ (2009) was something of a sleeper hit, earning over $100 million against a $24 million budget, becoming the most financially successful zombie movie ever made, until it was surpassed by Marc Forster's asinine _World War Z_ (2013). Smart, funny, and self-aware, it didn't take itself too seriously, and it had bucket-loads of heart, but it was hardly a film crying out for a sequel. And as time passed, it seemed more and more unlikely such a sequel would happen. However, after a decade in development hell, _Zombieland: Double Tap_ has arrived, and boy is it one of the most unnecessary sequels I've seen in quite some time. However, as unnecessary as it is, it's also extremely enjoyable. It doesn't do a whole lot that wasn't in the original, but the irreverent sense of humour, fourth wall breaks, sharp character interactions, and, most importantly, shedloads of charm are all present and accounted for. Directed by Ruben Fleischer (who helmed the original) and written by Rhett Rees and Paul Wernick (who wrote the original), along with Dave Callaham, _Double Tap_ may not take too many risks, but it's a fine companion piece.

10 years after the events in the first film, the quartet is still together and still getting on one another's nerves – there's the neurotic but sweet Columbus (Jesse Eisenberg doing his Jessie Eisenberg thing), the crass but caring Tallahassee (a wonderfully acerbic Woody Harrelson), the sarcastic Wichita (a dead-pan Emma Stone) and the laidback Little Rock (Abigail Breslin doing a lot with the little she's given). As we meet them, they're in the process of taking up residence in the White House – Columbus and Wichita are still a couple, but recently, she's started to wonder if perhaps their relationship is more important to him than it is to her; Little Rock is now a young woman who resents the fact that Tallahassee still treats her like she's 11; and Tallahassee, for his part, hasn't changed an iota. After Columbus proposes to Wichita (using the Hope Diamond), she and Little Rock skip town, but she returns a month later, telling the others that Little Rock ditched her and headed to a supposed zombie-free commune. And so the trio reluctantly set out to find her. Along the way, we're introduced to Madison (Zoey Deutch, who completely steals the film), a millennial bimbo who's been holed up in walk-in freezer; Berkeley (Avan Jogia), a peace-loving hippie; Nevada (Rosario Dawson), a tough-as-nails Elvis aficionado; and Albuquerque (Luke Wilson) and Flagstaff (Thomas Middleditch), who are eerily similar to Tallahassee and Columbus (the reveal of which was spoiled by the trailer). There's also a new breed of zombie, which is faster, stronger, and more intelligent than the regular kind, and which can only be killed with multiple head-shots.

And that's about it as far as the plot goes. The original film came at a time when the zombie genre was just starting to be taken more seriously – Danny Boyle's _28 Days Later_ and Juan Carlos Fresnadillo's _28 Weeks Later_ were released in 2002 and 2007, respectively, introducing all manner of innovations and turning many of the genre tropes on their head; Jaume Balagueró and Paco Plaza's _[•REC]_ films were released in 2007 and 2009, setting a new standard for found footage films; _The Walking Dead_ debuted in 2010, and for the first few seasons it was as well-reviewed a show as you could find (until it turned into repetitive self-parody). Zombies also featured heavily in video game franchises of the era, such as _Siren_ (2003), _Dead Rising_ (2006), _Dead Space_ (2008), and _Dead Island_ (2011). _Zombieland_ cared about none of that – it was, in fact, the inverse of such titles, a film that didn't take anything seriously, least of all itself.

With this in mind, although 10 years have passed and the landscape is very different, one of the sequel's most successful elements is that next to nothing has changed; in essence, it acknowledges the gap precisely by ignoring it. So, Columbus's opening voiceover specifically refers to the long break as he thanks us for choosing _Double Tap_ when there is such "_a wide choice of zombie entertainment_" and Madison tells Tallahassee his catchphrase is "_very 2009_", but the film as a whole feels as if it was shot immediately after the original. Of course, this is important insofar as in the universe of the franchise, the last decade has been very different to the last decade of our reality, so the filmmakers can't layer in too many contemporary references – although Columbus does mention how "_unrealistic_" _The Walking Dead_ comics are, there's a hilarious deconstruction of the concept of Uber, and there's a subtle allusion to Trump when Wichita sarcastically tells Tallassee he'd have brought "a real dignity" to the office of the presidency.

This factors into the performances as well, insofar as Columbus, Tallahassee, and Wichita are all broadly similar to how they were 10 years ago. Little Rock has changed significantly, but that's as much to do with the fact that she was a child in the original and is now a young woman. This lack of character development may sound like a bad thing, but really, the familiarity of the characters and their group dynamic has its own inherent charm, we welcome it because it's familiar, with the cast essentially doing the same things they did in the original. Speaking of performances, Zoey Deutch completely owns every scene she's in. Sure, the character is clichéd as all hell and, on paper, she should be all kinds of annoying, but that she isn't, is a testament to Deutch's warm performance, finding genuine pathos amidst the perpetually peppy and cheerful high-energy ditz. She also has great chemistry with the original cast, especially Harrelson. In fact, all of the new actors have terrific chemistry, which is nice to see insofar as effortless chemistry was one of the hallmarks of the original.

In terms of problems, as mentioned, the film doesn't do a whole lot that wasn't in the original – the characters are the same, the narrative beats are the same, the group dynamic is the same, the sense of humour is the same – and for some, this will certainly be an issue. Indeed, as much as I enjoyed the film, I would have liked to see it take more risks (there's certainly nothing here to rival the inspired Bill Murray cameo). Because of this blanket similarity, there is a sense in which the sequel isn't really its own thing, it's defined primarily by what the original did rather than forging its own path, and a lot of the meta-humour only works if you know the original. Another problem is that it fails to do much with an interesting set-up, which sees women chaffing against traditional gender roles and the identities conferred on them by men. Once the gang end up on the road, this theme is pretty much forgotten (even with the introduction of Nevada, who seems more like a man's idea of what a tough woman should be than her own person). There are also more than a few clichés, primarily in relation to Madison (as blond a character as you'll ever meet) and the one-note Berkeley (a weed-smoking gun-hating hippie, who is literally introduced by way of a sitar on the soundtrack).

_Zombieland: Double Tap_ is undemanding and doesn't completely justify its existence, but it also does justice to the original, and never for one second does it take itself seriously. The effortlessness with which it slots into the original's groove is either funny in its own right or poor writing, depending on your perspective, but the film is smart enough to know and acknowledge that it feels slightly out of place in 2019, in a way the 2009 original did not. And if a little of the spark has been lost, the warmth, the characters, the jokes, and the playfulness more than make up for it.

Directed by : Ellen Heuer, Jonah Hill, Seth Rogen, Nathan Kahane, Carla Hetland, Lisa Love, Maureen Webb, Jeremy Stanbridge, Lyle Workman, Kelli Konop

Produced by : Ellen Heuer, Jonah Hill, Seth Rogen, Nathan Kahane, Carla Hetland, Lisa Love, Maureen Webb, Jeremy Stanbridge, Lyle Workman, Kelli Konop

Starring : Jacob Tremblay, Brady Noon, Keith L. Williams, Molly Gordon, Midori Francis, Will Forte, Josh Caras, Retta, Lil Rel Howery, Millie Davis

Company : Good Universe, Point Grey Pictures

Release date(s) : 2019-08-14

Running time :89 Minutes

Country  : United States

Language :English

Budget :  $20,000,000

Storyline : walking into the theater i didnt know what to expect from this movie except two things one to atleast laugh a little and two to be in aww by the shocking content but however what i personally didnt expect was to attend the absolute funniest movie ive seen all year long i laughed out loud nonstop i loved the characters as well this definetly isnt for everyone kids included or anyone offended by sex humor but if you can take it i highly recommend seeing this comedy blockbuster
Most of the comedies that I love have an element of emotional weight, and ‘Good Boys’ is no exception. The film has some really bittersweet conversations about losing friendships and growing up that are sure to hit home for a lot of people. It helps push the film to the next level, and was something I really adored.
- Chris dos Santos

Read Chris' full article...
https://www.maketheswitch.com.au/article/review-good-boys-more-than-just-a-young-superbad
Everything old is new again.

Three naive six-graders are on a quest to get to their first kissing party, but get detoured along the way. Sound familiar? That's because it's the same plot as "Superbad" only with younger kids. From having to score drugs to selling a sex doll, these kids get into all kinds of ridiculous hijinks that provide only a mild laugh now and again.

My main problem here is the rehash. Why? "Superbad" is a far superior movie, probably because of the knowledge the characters bring to the table. These kids know next to nothing about the world, a fact that's played up to a maximum extent time and again. By the end of the movie, I was ready to throw my hands up in the air saying "Alright! I get it already." And the characters don't really develop to a significant extent. They remain just as naive at the end of the movie as they were at the beginning.

As a result, we wind up not just with a rehash of "Superbad" but a rather stagnant one at that. It can be cute at times, but overall we learn nothing along with the characters and our lives are not richer for having seen this movie. It's a cute diversion, but nothing else. Take it for what it is, or don't. My recommendation is that if you have anything else to see, you're probably better off seeing that instead.
It's not very good, and it is very derivative but man, I guess I'm just a sucker for jokes about drug use? For whatever reason I pretty consistently find it genuinely funny. Probably says more about me than it does about _Good Boys_, but whatever, it's fine.

_Final rating:★★½ - Had a lot that appealed to me, didn’t quite work as a whole._

Directed by : Francine Maisler, Rupert Gregson-Williams, Jennifer Aniston, Renée April, Charlize Theron, Kathy Driscoll, Michele Laliberte, Beau Flynn, Barry Bernardi, John Stoneham Jr.

Produced by : Francine Maisler, Rupert Gregson-Williams, Jennifer Aniston, Renée April, Charlize Theron, Kathy Driscoll, Michele Laliberte, Beau Flynn, Barry Bernardi, John Stoneham Jr.

Starring : Adam Sandler, Jennifer Aniston, Luke Evans, Terence Stamp, Gemma Arterton, David Walliams, Dany Boon, John Kani, Adeel Akhtar, Ólafur Darri Ólafsson

Company : Vinson Films, Endgame Entertainment, Tower Hill Entertainment, Happy Madison Productions, Denver and Delilah Productions

Release date(s) : 2019-05-25

Running time :97 Minutes

Country  : United States

Language :English

Budget :  $24,000,000

Storyline :

Directed by : Des Hamilton, Michael Giacchino, Mayes C. Rubeo, Mihai Malaimare Jr., Taika Waititi, Taika Waititi, Taika Waititi, David McKimmie, Kevan Van Thompson, Brendan Heffernan

Produced by : Des Hamilton, Michael Giacchino, Mayes C. Rubeo, Mihai Malaimare Jr., Taika Waititi, Taika Waititi, Taika Waititi, David McKimmie, Kevan Van Thompson, Brendan Heffernan

Starring : Roman Griffin Davis, Thomasin McKenzie, Scarlett Johansson, Taika Waititi, Sam Rockwell, Rebel Wilson, Alfie Allen, Stephen Merchant, Archie Yates, Luke Brandon Field

Company : Fox Searchlight Pictures, Defender Films, Piki Films

Release date(s) : 2019-10-18

Running time :108 Minutes

Country  : United States

Language :English, Deutsch

Budget :  $14,000,000

Storyline : Through his use of music and uncanny ability to find humour and heart in the darkest of moments, Taika Waititi has created an everlasting story that gives the power back to the persecuted and hope to the lost. ‘Jojo Rabbit’ will make you cry from laughter, cry from emotional pain, and cry with hope. It is simply stunning in all its facets, and a truly remarkable and unexpected film.
- Jess Fenton

Read Jess' full article...
https://www.maketheswitch.com.au/article/review-jojo-rabbit-taika-waititi-strikes-comedy-gold-again-with-adolf-hitler
Manages to somehow be one of the most raw and confronting looks at various aspects of WWII I've ever seen, and yet also often genuinely very funny. I'm not sure if that's really something that you should do... But Taika did anyway, and I loved it.

_Final rating:★★★½ - I really liked it. Would strongly recommend you give it your time._
Funny, light-hearted and delightful, Jojo Rabbit is a charming, and at times poetic, celebration of friendship, romance and peace, and a cheerful ode to our capability, and bravery, to save and love beyond boundaries.
**_A hilarious piece of political satire that isn't afraid to be serious_**

>_The great danger of lying is not that lies are untruths, and thus unreal, but that they become real in other people's minds._

- Christine Leunens; _Caging Skies_ (2004)

We live in dangerous times. In this era of political regression, racists, xenophobes, neo-Nazis, white supremacists, white separatists, and fascists, once confined to the periphery of civilised society, have wormed their way back into the cultural mainstream, preaching hate and intolerance under the guise of terms such as "nationalism" and "patriotism". Meanwhile, politicians validate such groups by doing precisely nothing to curtail them and refusing to condemn them ("_very fine people on both sides_" and so forth). Far-right political parties have gained worrying footholds in numerous European countries, running on populist platforms of Islamophobia and anti-immigration, playing on peoples' fears of the Other, exploiting the dearth of facts in sociopolitical discourse, and trading in disinformation (and the less said about the current administrations in the US and UK, the better). Anti-establishment political rage is on the increase, as hordes of people disavow traditional centrism; think of Brexit, the election of Donald Trump, the _Movimento 5 Stelle_ in Italy, the _Alternative für Deutschland_ in Germany. Scholars and sociocultural anthropologists have posited that hateful right-wing ideologies are more validated now than at any time since the rise of fascism in places such as Italy in 1922 and Spain in 1936. And the best known example of this kind of fascist thinking, of course, is the Third Reich in Germany, beginning with the rise to power of Adolf Hitler in 1933.

And so, it's entirely fitting that a film set in this very _milieu_, which argues that love, tolerance, and kindness can defeat hateful indoctrination, has come along at this precise moment; because although this is a film set in Germany in 1945, it's really about the here and now. Based loosely on the 2004 novel _Caging Skies_ by Christine Leunens, _Jojo Rabbit_ is a political satire written and directed by New Zealand filmmaker (and Polynesian Jew) Taika Waititi (_Eagle vs Shark_; _What We Do in the Shadows_; _Hunt for the Wilderpeople_; _Thor: Ragnarok_). Courting significant controversy when it was announced (a comedy about Nazis? For shame. Especially when one considers that the novel is deadly serious) and sharply dividing critics upon release, the film has proven a significant hit with audiences, and has just scored an impressive six Academy Award nominations, including Best Picture.

Positing that the first casualty of indoctrination is objective truth, Waititi follows in the footsteps of filmmakers such as Charlie Chaplin (_The Great Dictator_), Mel Brooks (_The Producers_), Roberto Benigni (_La vita è bella_), and even Quentin Tarantino (_Inglorious Basterds_), in attempting to defang Nazi ideology by rendering it utterly absurd and mercilessly exposing it to mockery. Marketed as an "_anti-hate satire_", the film has no easy task – to use Nazism as the (mostly) humorous background to what is essentially a _bildungsroman_, without it seeming exploitative or dismissive of the real suffering endured by real people. And Waititi manages this tricky balancing act exceptionally well. The satire and slapstick elements are as funny as anything in his filmography, and the film's more serious moments (of which there are several) arrive like an absolute gut-punch. This could have gone wrong in so many ways – if it wasn't funny, if the emotionality felt contrived, if the serious moments seemed manipulative, if the whole thing just came across as disrespectful and in bad taste – but Waititi navigates these dangerous waters magnificently. _Jojo Rabbit_ is, in fact, that rarest of films – a comedy where the serious moments feel completely earned and a drama with something important to say where the comedy enhances the seriousness.

_Großdeutsches Reich_, 1945. The European war is all but over. Germany's army has been pushed back to the homeland and allied forces are approaching from multiple directions. However, the propaganda machine continues to ensure that the populace are relatively unaware that _Der Führer_ is on the brink of total defeat. In the fictional town of Falkenhem, ten-year-old Jojo Betzler (an astonishing debut by Roman Griffin Davis) lives with his whimsical mother Rosie (Scarlett Johansson doing probably the best work of her career). His father, he believes, is fighting on the Italian Front, whilst his older sister Inge recently died of influenza. And, oh yeah, his imaginary best friend is none other than Hitler himself (a ludicrously over the top Waititi), or at least Jojo's childlike conception of Hitler. Believing absolutely in his duty to the state, Jojo and his actual flesh-and-blood friend Yorki (a hilarious Archie Yates) attend a camp for the _Deutsches Jungvolk_ branch of the _Hitlerjugend_. The camp is run by the cynical Cpt. Klenzendorf (a powerful performance by Sam Rockwell that was outrageously ignored by the Academy), who was forced to leave the front line upon losing an eye. Helping him manage the camp are his effeminate second-in-command Finkel (Alfie Allen) and the completely insane Fräulein Rahm (Rebel Wilson), who claims to have given birth to eighteen blond-haired blue-eyed _übermenschen_ who are now fighting on the front. When Jojo is told by some older boys that to prove he has what it takes to be a soldier, he has to kill a rabbit, he refuses to do so, earning the moniker Jojo Rabbit. However, determined to show his fellow students what he's made of, he barges into a _Stielhandgranate_ exercise, tossing a grenade against a tree, which then explodes a few feet away from him, leaving him with a limp and a scarred face, and forcing him to return home in disgrace. As Jojo recovers, Rosie persuades Klenzendorf, who was demoted after the incident, to give him some work, and so he's employed to distribute propaganda around town. Life is dull but straightforward. That is until he learns his mother has been hiding a young Jewish girl, Elsa Korr (a nuanced performance from Thomasin McKenzie), in a crawlspace behind the wall of Inge's room. However, as every German youth knows, Jews are mind-reading demons who must be exterminated. So why would his mother be harbouring one, and, more importantly, what does Jojo do now that he knows?

Perhaps _Jojo Rabbit_'s most laudable component is how well Waititi balances the disparate tones, which is a hell of a lot better than Benigni did. The film mixes slapstick humour, caricature, satire, dramatic irony, and hope, but never does it seem like its ignoring or trivialising real suffering. When the comedy is dropped and Waititi gets serious, the tonal shifts pack a shocking punch, and it's _because_ they're so well integrated into the overarching comic structure – if you take away the humour and the satirical edge, the film's darker elements simply don't work as well – it's the contrast that makes each element all the more powerful. Waititi's tonal intentions are indicated right from the beginning, as stock footage of German children performing 'Heil Hitlers' is scored (unashamedly anachronistically) by the German version of The Beatles' "I Want to Hold Your Hand" (1963). Also crucially important to the film's tonal qualities are the bright, colourful palette employed by director of photography Mihai Mălaimare, Jr. (_The Master_; _A Walk Among the Tombstones_; _The Hate U Give_) and the whimsical production design by Waititi's regular designer, Ra Vincent. Together, they speak to the fact that this is Jojo's worldview rather than objective reality, with the look of the film reminding me a great deal of Wes Anderson's _The Grand Budapest Hotel_ (2014). It sure doesn't look like any World War II movie you're ever likely to have seen.

Thematically, the film examines multiple issues; the devotion of motherhood, the importance of kindness in defeating indoctrination, the disconnect between an unchallenged and rigidly reinforced ideology and a far more nuanced and complex reality, the predetermined attitudinal stance towards the Other, the clash between doing what one knows to be right and what one is expected to do, the fact that good people can be found even in the worst of circumstances. Klenzendorf's arc is especially telling in this respect. Introduced as a hyperbolic caricature, the source of some of the film's biggest early laughs, as things progress, we realise there's considerably more to his character than initially thought, and he commands what's easily the most moving scene in the whole film. This is Jojo's story, however, with much of the runtime concerned with his attempts to rationalise the cognitive dissonance between what he's been taught and what he can see with his own eyes. Rosie is rightly worried that the indoctrination Jojo has known his entire life has effectively brainwashed him – he's so passionately loyal to Nazi ideology, when he found out his grandfather didn't have blond hair, it took him three weeks to get over it.

Of course, as mentioned, although set in 1945, _Jojo Rabbit_ is really about the here and now, although it's more than a little upsetting that its depiction of illogical hate is so timely. Essentially, the film mocks extremism, people who hate based on ethnicity or religion, with Jojo's belief that Jews are demonic figures capable of powerful magic standing in for people who believe all Muslims are terrorists or all Mexicans are rapists. In this sense, the film isn't about Nazis at all; their role is more allegorical. Rather it's partly about the role adults play in inculcating children into hate and partly about exposing the power of propaganda to subvert truth. But so too is it about rising above such ideology, no matter how ingrained it might be, a path that values personal relationships with persecuted minorities, which in turn reveal the individualistic humanity behind the political cliché. And although all of this is presented humorously, it never becomes didactic or monolithically preachy – Waititi balances his tones so well, the political undercurrent remains always subtle.

If I were to criticise any element of the film, it would be that Waititi undeniably glosses over some of the more horrific atrocities carried out during the War. The Nazis in the film are, by design, cartoonish, but that is done so as to render them as easily dismissed figures to be scorned. The reality, of course, was far, far darker. I've seen some critics point to this as evidence that the film is crass and manipulative, and although I disagree with that assessment, it certainly wouldn't have hurt to have at least one fully indoctrinated Nazi who isn't a figure of fun – even the Gestapo is exposed to ridicule, with the character of Deertz (an admittedly hilarious Stephen Merchant cameo) presented as more concerned with empty pop-cultural signifiers than carrying out the actions of the real Gestapo. In this sense, the film doesn't represent the awful truth, but it never claims to; this isn't a reality-based examination of Nazism, nor does it try to be.

Only two weeks into 2020, and I already have a possible film of the year. _Jojo Rabbit_ is beautiful, emotional, heartfelt, and devastating, but mostly hilarious and always hopeful. It's an extraordinarily sweet film without ever becoming saccharine, as Waititi strikes a perfect balance between comedy, tragedy, and drama. It's a very funny World War II film which imparts a vital message for our confused and divided world of today – if we let them, love will always trump hate, hope will always light a way through the darkness.
"Your mother took me in. She's kind. She treats me like a person."

Taika Waititi is on a roll recently and rightfully so, because he's got a great comedic vision.

'Jojo Rabbit' is a World War II satire that's both hilarious and surprisingly tragic. Joy, terror, love, hate all in one movie. Waititi knows how far to take a joke and how humor can put on light on ugly issues. While absurd looking on the surface, but on a deeper look it's something unique.

Newcomers Roman Griffin Davis and Thomasin McKenzie take center stage upon the big cast. Their comedic timing, emotional range and overall performances are nothing short than impressive. Also Archie Yates is like the adorable child version of Nick Frost.

Speaking of big name stars. Scarlett Johansson is having a fantastic year and she once again delivers a wonderful performance. Sam Rockwell is amazing in pretty much anything he's in and here is no different. Rockwell playing a closeted homosexual Nazi is hysterical, and yet meaningful when you look at it more thoughtfully.

The weakest actor upon the cast has to be Rebel Wilson. I really didn't buy her as this character. I thought she's just doing her usual comedic traits like in every other movie, which I'm not a fan of.

Not only is Taika Waititi directing and writing, but also starring as Jojo's imaginary friend of his very own idol... Adolf Hitler. Apparently Waititi didn't have to research playing Hitler, because he thought Adolf was 'a f**ing c***'. Anywhere, the concept itself is really bizarre and really fascinating. While silly and entertaining, but could've been left out, in my opinion. There was a point where he completely disappears from the movie to later reappear during the finale.

At times I feel like it tries hard to be like a Wes Anderson movie, in terms of staging, quirky humor, and overall setting. Influence is one thing, but it came a point when it wasn't being it's own thing.

Overall rating: Criticisms aside, I had an absolute blast. Endearing and highly vocal. I'm glad a movie like this exist.
If you enjoy reading my Spoiler-Free reviews, please follow my blog @
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Taika Waititi delivers one of those films I absolutely love for the exact same reasons some people deeply hate it. His seamless balance between comedy and war drama makes Jojo Rabbit a thought-provoking yet hilarious depiction of how ridiculous Hitler’s followers were. Roman Griffin Davis offers one of the best young performances of the millenium, and the rest of the cast is pitch-perfect. There’s a lot of laughs, but also a lot of heart. Still, be warned: if you’re easily offended, this movie isn’t suited for you. Either go in with an open mind or don’t go in.

Rating: A-
Thought the first 35-40 minutes to be rather dull and unfunny, however the rest really brought the film together and made the first part make more sense what Waititi was doing. Some nice moments with Davis and McKenzie although can't say I fell in love with this, but still glad I watched. **3.5/5**
Where this film may have missed the mark for some people is in its comedy, insofar as audiences expect a certain depth of humour from Waititi's films. Nevertheless, _Jojo Rabbit_ is tremendously endearing, especially through the titular character's innocent portrayal by actor Roman Griffin Davis.

Its poignant ending—the last scene of which I'd rewinded about 5 times—brought a smile to my face. Likewise, the appended Rilke quote seals the film as a tremendous work of art.
**Jojo Rabbit** is wild. Heart-warming yet heart-breaking. Laugh-out-loud funny yet nerve-racking. This film is crazy good and offensively amazing. Please don't feel guilty for laughing, just enjoy the show.
I almost feel bad for not liking this more.

Directed by : Sarah Bradshaw, John Schwartzman, Theodore Shapiro, Renee Ehrlich Kalfus, Emma Thompson, Emma Thompson, Fiona Weir, Brent White, Daniel Phillips, George Michael

Produced by : Sarah Bradshaw, John Schwartzman, Theodore Shapiro, Renee Ehrlich Kalfus, Emma Thompson, Emma Thompson, Fiona Weir, Brent White, Daniel Phillips, George Michael

Starring : Emilia Clarke, Henry Golding, Emma Thompson, Michelle Yeoh, Patti LuPone, Rob Delaney, Lydia Leonard, Sue Perkins, Rebecca Root, Jacqueline Ramnarine

Company : Universal Pictures, Feigco Entertainment

Release date(s) : 2019-11-07

Running time :102 Minutes

Country  : United States

Language :English

Budget :  $30,000,000

Storyline : If you enjoy reading my Spoiler-Free reviews, please follow my blog @
https://www.msbreviews.com

I'm not the biggest fan of straight-up romantic comedies (rom-coms). I don't think I absolutely love a film from this genre, and if I do, it probably doesn't solely belong to the rom-com's list (they could also be musicals, dramas, etc). Most of the times, I appreciate them enough to feel fulfilled. Very rarely, I feel totally disappointed or with a hate feeling towards one. Paul Feig delivered a couple of great comedies during his career (Bridesmaids, Spy), and the underrated/overlooked A Simple Favor, which I enjoyed very much. With Emma Thompson (Adelia) as both supporting actress and screenwriter, Emilia Clarke and Henry Golding as protagonists, Last Christmas grew on me in the week of its premiere, making me genuinely excited for its session.

This Christmas' movie sort of falls in the middle. I don't exactly "like" it that much, but I still left the theater happy and reasonably entertained. It actually possesses a dramatic tone deep within, but it never fully explores it, maintaining the lighthearted and festive vibe throughout most of its runtime. Clarke and Golding share amazing chemistry, and their scenes are very romantic, sweet, and emotional. However, it's more of the same. Last Christmas doesn't bring anything new since it follows the same cliches every other rom-com does.

Its only bold and different take on the story is a plot twist that raises too many logical questions. Instead of carrying an emotionally powerful impact, it merely delivers an initial shock that goes away once people start to really think about it. Nevertheless, I praise this storytelling choice. It's never easy to pull off a twist, but the truth is that if Emma Thompson and Bryony Kimmings didn't take this missed shot, I wouldn't have spent the whole trip back home thinking about the film. I would have probably forgotten it as soon as I got into the car. So, congrats on trying something different, even if it didn't quite work for me.

Thompson ultimately shines as Kate's mom, though. No missteps here. She's hilarious, and she has some of the funniest lines of the whole thing. Michelle Yeoh (Santa) also has a couple of fun moments, but her subplot feels a bit strained. Emilia Clarke incorporates the clumsiness and awkwardness of her character seamlessly. If you're familiar with Clarke's interviews and public persona, then you know that Kate is basically the over-the-top reflection of Clarke. Despite her lack of luck, she's still charming and a good person that went through a traumatic event that changed her life (duh). Golding is glamorous and perfect as expected, especially since his character needed precisely these attributes.

Their relationship grows in a not-so-realistic way, and while this might be justified by the last act's twist, other plot points are not. My main issue with the movie is really those last 20 minutes. In addition to the twist, every single subplot is closed like nothing happened. From a particular family situation regarding sexual orientation to Yeoh's entire side story, all are either solved off-screen or way too easily. It's a rollercoaster of good and bad writing decisions. It has a couple of exciting downwards slopes and tight turns, but most of it is a slow ride with nothing truly thrilling or astonishing.

Last Christmas tries to be "the next big thing" concerning Christmas classics, but it falls short of its goal. Boasting a fantastic cast, with two charming, compelling leads in Emilia Clarke and Henry Golding, Paul Feig delivers a lighthearted, festive film, but stuffed with cliches and a twist that doesn't quite work. Emma Thompson shines as a supporting character but has some missteps in co-writing the story with Bryony Kimmings, showing significant struggles in tying up the loose threads left by the side stories. Despite its storytelling issues, it's a flick I recommend to anyone who loves seasonal movies with a beautiful message, some fun moments, and a score packed with our favorite George Michael's songs.

Rating: C+
Some nice moments and I did like the cast as Emilia Clarke and Henry Golding had some nice chemistry. The twist felt forced but I guess I should expect it from a sappy Christmas movie. IDK, I enjoyed parts of this mostly for the core cast though doubt I'd have much desire to watch again (also feels odd watching a Christmas movie like this in February). **3.25/5**

Directed by : Andrew Stanton, Andrew Stanton, Andrew Stanton, Lee Unkrich, John Lasseter, Ren Klyce, Randy Newman, Bob Pauley, Jean-Claude Kalache, Katherine Sarafian

Produced by : Andrew Stanton, Andrew Stanton, Andrew Stanton, Lee Unkrich, John Lasseter, Ren Klyce, Randy Newman, Bob Pauley, Jean-Claude Kalache, Katherine Sarafian

Starring : Tom Hanks, Tim Allen, Annie Potts, Tony Hale, Keegan-Michael Key, Madeleine McGraw, Christina Hendricks, Jordan Peele, Keanu Reeves, Ally Maki

Company : Walt Disney Pictures, Pixar

Release date(s) : 2019-06-19

Running time :100 Minutes

Country  : United States

Language :English

Budget :  $175,000,000

Storyline : Rather than offering an even more potent ending, ‘Toy Story 4’ ends up being an unnecessary epilogue, offering little to enrich the overall narrative of the series and never cashing in on the actual possibilities it offers. This could have worked if it had explored a new story in the 'Toy Story' universe, and Forky certainly makes it clear that such a move could have worked beautifully. Instead, we have a film that feels tired and forced, lacking in clarity or inspiration, serving neither its classic characters or its new ones, and ultimately never justifying its existence. It’s certainly an enjoyable film, but it’s hardly a necessary one.
- Daniel Lammin

Read Daniel's full article...
https://www.maketheswitch.com.au/article/review-toy-story-4-entertaining-but-thoroughly-unnecessary
I very much enjoyed _Toy Story 4_. I thought it was good, and I think it doesn't at all "undo" the perfect ending that the third entry gave us, which was a legitimate fear some people had. What I will say however, is that I don't understand **just how much** most people seem to have loved it. I have seen multiple people say it's the best of the four, and I more think it's the... worst. That's not a knock! This is a **seriously** good series (and also I think it might actually be either better than or maybe as good _Toy Story 2_). But I am not quite feeling the **overwhelming** positivity that it has garnered from a lot of my peers.

_Final rating:★★★ - I liked it. Would personally recommend you give it a go._
Dang, is it dusty in here? After what was a near perfect conclusion with Toy Story 3, wasn't sure if this was really needed. I'm glad they did go through with it and although it's not exactly unpredictable, still was highly entertaining with some genuine emotions and a great finale for Woody. Really says a lot that as good as this was, it's still the fourth best movie of the series. **4.0/5**

Don't really want a TS5 but wouldn't mind some short Toy Story Toons with the group...
Not entirely necessary, but 'Toy Story 4' still produces goods worthy of being attached to the initial trilogy.

Tom Hanks, I'm sounding like a broken record but..., is still tremendous as Woody, I love hearing his voice in this role. Tim Allen is solid as Buzz Lightyear, but I kinda feel they don't use him - or the other originals - enough considering who they are. It is, though, cool to see an old face return in Bo Peep (Annie Potts).

There are some more new characters and yet again, like in the past films, they strike the right chords. Keegan-Michael Key and Jordan Peele are, entirely unsurprisingly, funny in the roles of Ducky & Bunny. Christina Hendricks is a good Gabby, while Keanu Reeves amuses as Duke Caboom.

The film focuses on giving the viewer(s) extremely heartfelt moments and for the vast majority it hits as intended, though they do try to tug on the heart too much in parts. The animation is stunning, especially in the early scene with RC.

Is it a thing everyone wanted? Most probably not. Yet is there fun to be had? Most definitely. For a third sequel, you gotta give respect to Pixar & Co.

Directed by : Christophe Beck, Chris Buck, Chris Buck, Peter Del Vecho, David Womersley, Hans Christian Andersen, Byron Howard, Jamie Sparer Roberts, Allison Schroeder, Jeff Draheim

Produced by : Christophe Beck, Chris Buck, Chris Buck, Peter Del Vecho, David Womersley, Hans Christian Andersen, Byron Howard, Jamie Sparer Roberts, Allison Schroeder, Jeff Draheim

Starring : Kristen Bell, Idina Menzel, Josh Gad, Jonathan Groff, Sterling K. Brown, Evan Rachel Wood, Alfred Molina, Martha Plimpton, Jason Ritter, Rachel Matthews

Company : Walt Disney Animation Studios, Walt Disney Pictures

Release date(s) : 2019-11-20

Running time :104 Minutes

Country  : United States

Language :English

Budget :  $150,000,000

Storyline : The kingdom of Arendelle needs to be evacuated when the forces of nature threaten to destroy it. Elsa, Anna, Olaf and Kristoff set off to find some answers. But Elsa has been distracted. She has been hearing an unfamiliar voice calling out to her in a strange tune. Led by her, the group follows the melody to find themselves at the edge of an Enchanted Forest with untold mysteries and dangers.

Rather than retracing the steps of its record-breaking predecessor, ‘Frozen 2’ tries some new thematic tricks. This time around, the surprisingly mature plot focuses on transformation and growing up. The film’s setup leading up to the climax appears to be promising, but its third act doesn’t quite live up to expectations. The conflict resolution lacks a sense of impact and feels rushed. This is particularly baffling since the first half tends to meander, focusing on songs than on purposefully furthering the plot. Additionally, the tracks are far too many and certainly not as catchy as the first film. Which isn’t to say they are bad – the compositions are layered, but it is yet to be seen if they have enough sing-along power to become as popular as ‘Let It Go’. Still, the picturizations of the music is incredibly captivating.

This extends to the rest of the film’s animation too, and some vibrant colors combine with photo-realistic visuals to create quite a spectacle. Minor details are noticeable as they enhance the essence of each character. While each of the group gets their moments, Elsa and Anna continue to be the focal points. The uncontainable chemistry of Idina Menzel and Kristen Bell, respectively, picks up where they left off without missing a beat. Olaf provides ample humor, either in visual slapstick or by Josh Gad’s endearing yet tongue-in-cheek, almost self-aware delivery. An interesting new character played by Sterling K. Brown is an immediate standout. However, a subplot involving Kristoff and Anna feels shoed in to give Jonathan Groff something to do besides singing probably the most amusing song in the soundtrack.

It’s a tall order to expect this sequel to capture the lightning-in-a-bottle magic of the original, but Frozen 2’s stunning eye-candy and humor will be enjoyable enough for its younger core audience.
While ‘Frozen 2’ isn’t as strong a film as I had hoped it would be, I wouldn’t go so far as to call it a disappointment. It’s still incredibly entertaining and I found myself engaged throughout. These films do have an undeniable charm, and outside of the now-completed ‘How to Train Your Dragon’ trilogy, ‘Moana’ and Laika’s ‘Missing Link’, these are the only major American animated films attempting the use the form to create a cinematic experience. It is a pity that the story never finds its feet; a combination of this level of craft and a real ripper of a yarn would have made this a slam-dunk. As it stands though, the magic of the ‘Frozen’ franchise is still there - dimmed, but there nonetheless.
- Daniel Lammin

Read Daniel's full article...
https://www.maketheswitch.com.au/article/review-frozen-2-elsa-and-anna-return-with-the-magic-mostly-intact
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As you should know by now, I enjoyed Frozen more than I expected. Therefore, I was genuinely excited about its six-year sequel. It’s one of the few movies in 2019 to which I went in 99% blind. I didn’t watch a single trailer, I barely saw any images or small clips, and I didn’t know anything about where the story was going. So, with my expectations moderately high, how did it perform? Very, very well. I’m going to write it straight away: I enjoy this sequel more than the original. For one simple reason: it possesses a more emotionally complex narrative, one which I think the target audience (basically kids) won’t even fully understand.

It’s really hard to create an animated flick with a story that works for both adults and children. The best of the best are the ones that are able to almost tell two different narratives: one simpler for kids with basic life lessons, and another for adults with more profound themes. Frozen II doesn’t reach this last level, but its layered screenplay allows for an exploration of Elsa’s powers that I genuinely didn’t expect. However, there’s an evident downside to the extreme focus on Elsa’s journey… The other characters are put aside with irrelevant subplots that only stretch the runtime a bit too much, and unfortunately, reach a certain point where out-of-character actions occur.

There’s even a period of time where a particular character simply vanishes from the story because Jennifer Lee and Chris Buck couldn’t figure out what to do with it during the last act. Despite the subplots not being impactful or not being able to further develop its characters, I can’t deny some sequences are entertaining and funny as hell. Olaf is the absolute MVP of the film, and just like in the original, he doesn’t exactly have an arc. Nevertheless, he has one of the most hilarious sequences of the year. I cried from so much laughter. His song and a couple of scenes where Josh Gad goes all out are some of the funniest of the whole movie.

The voice cast is once again perfect. Anna, Kristoff, and Sven are sort of along for the ride, with the trio only doing something useful in the last 15-20 minutes. Elsa is the real star of the show. From the opening shot to the last, it’s all about her, and her powers’ origin. It might get too convoluted for kids, but despite a few minor missteps, it’s an extremely well-developed screenplay. With a remarkable build-up and some truly amazing songs, Elsa goes through several action moments where she showcases all that her magic can do. And it’s visually mind-blowing. Like in the first film, the animation quality is extraordinary.

They really put 200% effort into Elsa’s magic sequences. From her running against a tide of waves to fighting against the four elements (water, fire, earth, and air), there are imaginative and incredibly entertaining scenes, which give the movie a level of entertainment superior to its predecessor. Put this together with the wonderful, powerful score, and you get a pretty epic film, scale-wise. I mean, Into the Unknown is not going to reach Let It Go’s level of worldwide craziness, but it’s a phenomenal song. It’s even better hearing it while watching the actual scene play out. Both this one and Show Yourself have a build-up worthy of sending chills down your spine.

All Is Found is also a memorable lullaby that a lot of parents are going to sing for their kids. When I Am Older is Olaf’s hilarious musical moment that left me laughing throughout its entire run. I love Frozen II’s score, more than the original’s. That’s something I genuinely wasn’t expecting at all. Looking back, I now think the first installment doesn’t even have enough significant songs. This sequel has tons of songs that are either extremely important for the characters or funny parodies. All are very captivating, catchy, and emotionally resonant. My advice: please, don’t listen to the soundtrack before watching the movie. Not only the titles and lyrics offer plot spoilers, but they ruin that “first experience” feeling. I got chills during a couple of them precisely because I watched besides only hearing them.

All in all, Frozen II compensates the six-year wait with a follow-up worthy of standing up to its original, which in my opinion, surpasses it. With an emotionally complex narrative, Elsa’s powers are explored and developed in a captivating, creative, fun, and entertaining way. Disney really put their best animators on this because the quality of animation has never been as visually impressive as this. It really feels like a magical film. Elsa’s magic demonstration plus the powerful, chill-inducing original score are two aspects that together provide some truly epic moments. However, Olaf is the MVP with a lot more screentime than in the original, and with a couple of the most hilarious scenes of the year. It’s a shame that the focus on Elsa’s arc pushed every other character aside, making them feel useless and with no exciting or impactful subplot. Runtime feels a bit stretched due to their side adventures, and exposition is pretty heavy throughout the entire duration. In the end, it’s still a contender for Best Animated Feature Film of 2019.

Rating: B+
Better than the first film which I found lackluster in almost every area outside the animation, this one had a stronger story and character development and while I can't say there was one highly memorable song, it did flow a bit better in the sequel. **3.75/5**
Making a quality sequel can be tough, and even moreso when it’s a follow-up to a beloved modern classic. “Frozen II” has huge shoes to fill from the outset, and this second installment of the Disney animated tale of two sisters is a mostly unsuccessful adventure. Even the dazzling animation can’t make up for what’s lacking, including the absence of an instant hit song (nothing here even comes close to the brilliance of “Let It Go”), dry voice performances, and a mediocre story.

When ice queen Elsa (Idina Menzel) begins hearing a strange voice calling her, she and sister Anna (Kristen Bell), Kristoff (Jonathan Groff), snowman Olaf (Josh Gad) and reindeer Sven set out on a perilous journey to discover why Elsa was born with magical powers. It’s a surprisingly dark adventure that, despite beautiful set pieces, is generic. The plot is confusing yet somehow predictable, and everything is Disney-fied and wrapped up with a nice little bow by the final credits.

Most disappointing are the bland songs (by Robert Lopez and Kristen Anderson-Lopez). There isn’t one number that stands out. It’s a particularly huge letdown after the timeless toe-tappers of “Frozen.”

The movie feels like it’s made more for adults than kids, and there are some scary moments (like Olaf wandering through a deep, dark forest and flashbacks to the death of Anna and Elsa’s parents) that may frighten a few children. The idea of an action-adventure animated film with two strong female leads is commendable, but the potential to be something special instead of merely adequate is frittered away.

While the magic doesn’t reach the highs of the first film, “Frozen II” is beautifully animated and visually impressive enough to recommend only to those who love animation as an art form. Everyone else would be smart to skip it.
Exactly what one can expect from a Disney princess movie.