Tag: Archie yates

HOME SWEET HOME ALONE – Review

Time for yet another merry “movie mash-up”, with a big accent on the first “m”, The studios love mixing genres and “concepts’ almost as much as character “meetings” (as we saw a few months ago when the big ape met the big scaly lizard, though it’s really a “versus”). Here’s a “holiday film” that’s also a reboot (or “re-imagining”). Or is it? Sure, there have been many variations of “A Christmas Carol’, swapping time periods and even genders. And while that one is perhaps the most famous yuletide tale of the 19th century, for the last decade of the 20th, it’s that heart-tugging, gut-busting romp about a lad left by himself for the big “25th”. It generated two sequels that involved the “Kevin” character and a couple of “follow-ups” (in title only) with other youngsters in a similar predicament. Now, the 2021 “model’ is a perplexing “hybrid’ as it’s got another lad, but the producers go out of their way to let us know that it is set in the “world” of that 1990 original. But that’s one of several twists on the “formula’ in store for families that gather around the big screen, next to the glowing tree, of course, to watch HOME SWEET HOME ALONE.


Actually, there’s a big “twist’ right from the start, as we meet the “intruders’ in the first few minutes. Due to the loss of his computer storage job, Jeff (Rob Delaney), along with devoted wife Pam (Ellie Kemper) are on-site as eager reality agent Gavin (Kevan Thompson) hosts an open house for their Winnetka, IL home. But somehow the couple isn’t quite 100% helpful (they haven’t even told their two kids about the upcoming sale and move). Meanwhile, pre-teen Max (Archie Yates) is running errands with “mum” Carol (Aisling Bea) when “nature calls”. Aha! They’ll “crash” the open house and make quick use of the facilities. Outside the bathroom, Rob is doing some closet reorganizing and taking out an open box full of odd antique dolls. Carol mentions that one of them, a lil’ lad with an _upside-down” head (a makers’ error) is rare and perhaps valuable. Jeff laughs it off, however. When Max’s “business” is done, he asks Jeff for a big can of orange soda. When Jeff denies his request (“too sugary”). Max gives him an angry scowl. Soon he’s back at his chaotic home which is full of relatives (uncles, aunts, cousins), who’ll be joining him on a Christmas trip to Tokyo early the next morning. To get away from the ruckus, and the irritating Uncle Blake (Pete Holmes), Max drifts off to sleep in the garage, behind the wheel of the family SUV. That same night Jeff’s awakened by the early arrival of “flush with cash” pushy brother Hunter (Timothy Simons), wife Mei (Ally Maki), and their little boy. Since he can’t sleep, Jeff goes online to find the value of that “ugly boy” doll, An eBay auction is at 200 G’s! He rushes to the closet to find the toy is gone! Max must’ve swiped it in spite. Hours later he’s left behind in the garage as the frantic trek to the airport (the big family has been split onto separate flights). While Max delights at his solo holiday, Jeff and Pam decide their only option is to break into Max’s home and retrieve the doll. But it certainly won’t be that easy, as we’ve seen in five other flicks…

So, they’ve pulled a real switcheroo by sharing the film’s focus with the “burglars’, who are a far cry from the original’s “wet bandits”. Jeff and Pam are a nice, though goofy, suburban couple plucked from any family sitcom (they’d be right at home on ABC’s classic 90’s Friday line-up). And it helps that both actors have had lots of TV experience. Delaney’s perhaps best known for the somewhat edgy Amazon Prime show “Catastrophe”, which he also co-created. He makes Jeff a lovable doofus, but imbues him with a touch of pathos, especially in one scene as his home’s impending sale sends him into a hazy nostalgic dream of warm memories. Plus he’s got a great knack for the usual slapstick elements of the series, as does Kemper, who captivated TV audiences in NBC’s “The Office” before her signature role as “The Unbreakable Kimmy Schmidt” on Netflix. As Pam, she’s the real brains of the duo, whether she’s barking orders (but in a loving way) to her dazed spouse, or playing dumb and innocent to the simple constables. Oh, Ms. Kemper can really sell the “pain” (I’ll think of her whenever I see a “free-range” Lego). These two “pros” use their skills in order to “hold their ground” against (really working alongside) the “scene-stealing” Yates, so endearing as the BFF of JO JO RABBIT. Like his predecessors in the series, he aptly balances the highs (plotting out and executing his “defense plan”) and lows (he really doesn’t wish to be alone on the ‘big day”). Yes, he gives “mum” a hard time, but we can’t get too miffed at his “onslaught of charm”. As his “mum”, Bea expertly balances frustration, not only at Max but also the dimwitted adults, and pure parental panic as she shifts very quickly into “mama Grizzly” mode. Simons is the anti-“Cousin Eddie” (from that other 1990’s yuletide iconic classic NATIONAL LAMPOON’S CHRISTMAS VACATION) as the obnoxious Hunter who pummels his brother’s kids with too-pricey presents, aided by his vapid wife Mei played by the funny Maki. Other great comic talents are Holmes as the clueless clod Blake and Thompson as the commission-crazed realtor who will not be “ghosted”. Oh, and there’s a familiar face from the series, but I won’t spoil it (hear that, Santa).

Veteran comedy director Dan Mazer keeps the pace rolling on, while slowing things down just enough for the story’s more sentimental moments to pluck at the heartstrings. Kudos to screenwriters Mikey Day (yes, the SNL cast member since 2014) and Streeter Seidell (working from the John Hughes blueprint) for mixing up the format and giving us a more sympathetic adversary for the young domicile defender. But this often backfires, as this down on his luck dad seems unworthy of the relentless pummeling in the third act (ditto for mom Pam). Yes, this is supposed to emulate “cartoon violence” (Max may be inspired by a classic Roadrunner cartoon on his SUV’s monitor…but Fox is now part of the “Mouse House”), but some of the traps make us cringe in pain rather than guffaw. And with the enhancement of CGI, we’re stunned that the duo doesn’t pass out, let alone that they can trudge forward through Max’s mini-mansion (and that property damage and insurance forms). Sure, the tykes will be tickled by the slapstick, but they may recall that the pair being punished have their own kids at home, sleeping while the mayhem ensues. But I guess this is similar to slamming a musical for big song-and-dance numbers or horses in a Western. It’s been part of this series for over 30 years now., along with the John Willimas theme that wafts through several scenes. Luckily the talented new cast overcomes the familiar tropes to give an interesting spin on the series for the sixth outing in HOME SWEET HOME ALONE. It’ll go well with the egg nog and cookies, just keep the mints away from the soda pop.

2.5 out of 4

HOME SWEET HOME ALONE streams exclusively on Disney+ beginning on Friday, November 12, 2021

JO JO RABBIT – Review

This week’s new comedy/drama is a most unexpected entry in the career of a gifted international filmmaker. After making a name for writing and directing television shows (“Flight of the Conchords”), and a few low budget movies (BOY, EAGLE VS SHARK) in his native New Zealand, Taika Waititi finally scored worldwide success (a critical darling and some modest box office numbers) with WHAT WE DO IN THE SHADOWS, a parody putting vampires in a realty “sharing a house” TV show. His next effort HUNT FOR THE WILDERPEOPLE had big laughs along with loads of heart. Then, who should take notice and “come a’ calling”, but Marvel Studios. Sure, they had made a “rep” for enlisting “indie”, largely unknown directors, but this seemed a pretty big gamble in handing over the third flick in one of their most lucrative franchises to him. Luckily THOR: RAGNAROK was a smash as Waititi deftly balanced the big cosmic action sequences with an “off-kilter” sense of humor. He even acted as alien rock-like behemoth Korg (which he reprised in AVENGERS: ENDGAME). So, is he staying in the big “blockbuster” lane? Well, he’ll soon be helming another Thor epic, but first comes a quirky mix of social satire, coming of age drama, and whimsical fantasy, enlisting some “name” actors, all set against the backdrop of 1940s Nazi Germany. It seems that dark time was the playground of a young lad nicknamed JO JO RABBIT.

Yes, ten-year-old Jojo (Roman Griffin Davis) is a typical young lad living in Germany during that turbulent time. He’s got a best pal, Yorki (Archie Yates), along with an imaginary buddy. For most kids that might be another boy or even a six-foot talking bunny, but Jo Jo has Adolph Hitler (Taiki Waititi). It figures since he’s a most enthusiastic member of the Hitler Youth and hopes to serve his Fuhrer as a loyal soldier. Jojo’s mother Rosie (Scarlett Johanssen) tolerates her son’s energy as she runs the household alone. Her hubby is missing in Italy and an older daughter passed on years ago. The youth camps are in session, presided over by Captain Klenzendorf (Sam Rockwell), though “K” is fine by him. After failing a test of cruelty, the older lads add “Rabbit” to Jojo’s name. Ah, but he’s got a plan to erase that derisive moniker. But his impulsive act of bravado soon proves disastrous. Jojo is still able to help at a local military office, but a future in combat is kaput. And he spends more time at home, trying to occupy himself as Mum runs her “errands”. It’s during one of those long days, that Jojo discovers her secret. Hiding behind the walls of their “flat” is a teenage girl named Elsa (Thomasin McKenzie). And she’s Jewish. What’s a good Ayrian boy to do? His mother will be punished if he reports Elsa. So, he mustn’t let her know he knows (a bit confusing). As the war drags on, Jojo’s inner conflict nearly tears him apart. Is she the evil creature from his studies? And does he feel empathy, or something more, for her?

The story is expertly carried by the energetic natural performance of Davis, who ably conveys the title character’s youthful euphoria, especially in the opening sequence as he “Siege Heils” nearly everyone in his eye-line. Thanks to the influences of his mother and Elsa, Davis also shows us a big change in Jojo’s spirit as he slowly develops sympathy, perhaps a conscience, as he questions the beliefs drilled into him over most of his young life. His wide expressive eyes become a window into his evolving soul. His demeanor is best shown in conflict with the two positive female influences on him. As mom Rosie, Johanssen really gets to explore her playful side as a life-affirming, smiling “sprite” who detests what her beloved homeland has become. As her heart nearly breaks, we see that she’s not about to give up on her son, appealing to the playful, happy-go-lucky boy that’s still somewhere buried inside a future “goose stepper”. And then there’s the formidable Ms. McKenkie (so good in last year’s indie gem LEAVE NO TRACE), whose Elsa has an indomitable spirit, a survivor who must earn Jojo’s trust, but who still challenges him as she becomes a “consultant” on his literary aspirations. McKenzie exudes both fearlessness and intelligence in a terrific supporting role. Speaking of great support, how about Oscar-winning Rockwell who seems to be having a great time as the sour, surly Captain ‘K’, who must endure the onslaught of kids? Still, he finds a kindred spirit in Jojo, as he dreams of glories perhaps still attainable, even designing colorful outfits (lots of frills and capes). One of his underlings is the wonderful Rebel Wilson, freed from studio “rom-com” Hell as the too-helpful Fraulein Rahm, who’s happy to send her charges off to doom with a smile and an encouraging word. The three biggest scene-stealers are first, Stephen Merchant as the most affable Gestapo agent ever, who grins through each threat as he towers over his black-clad minions. Then there’s the sweet work of Yate as pal Yorkie who pops up to cheer up his pal Jojo. His round face with Harold Lloyd glasses makes him resemble a cartoon cherub, yearning to escape the battlefield and get in some play (or cuddle) time. And finally, there’s Taititi as Jojo’s invisible (to others) confidant, buddy AH, who becomes a petulant diva at the least affront from Jojo. It’s a truly tricky role, but Waititi hits every note with confidence and superb comic timing.

Mr. W is quite the triple threat here as he also wrote the screenplay, based on the novel by Christine Leunens. Though some may question making Nazis the object of ridicule, I’m reminded of the musings of Mel Brooks (who was slammed by many for his first flick, THE PRODUCERS, over 50 years ago), who has said in countless interviews that the worst humiliation for the Reich is still be mocked and made the butt of jokes. With their recent resurgence, the time’s more than ripe for this barrage of satiric salvos. But as with last year’s classic BLACKkKLANSMAN, Waititi doesn’t erase the deadly dangers of the group. Yes, as with KKK’s white hoods, these near-robots in their colors of black, grey, red, and brown look like clowns, but their sting is still full of poison. In the town square, Jojo must pass by a public gallows with an ever-changing quartet of “traitors”. These are especially driven home in the story’s final moments, as the war winds down and it’s time to “face the music” (oh, the film is peppered by several great post-war pop songs sung in German by the original British and American artists, from the Beatles to Bowie). There’s great use of locations in Prague, which doubles seamlessly for those German villages. Yes, there are loads of laughs, but Waititi knows just when to slow things down, as Jojo begins to ponder the mysteries of his heart. This work showcases the maturity of this emerging screen storyteller. Before we return with him to New Asgard, we should all take a sweet, surprisingly funny and moving stroll 75 years in the past with JO JO RABBIT.

4 Out of 4