January 3, 2020 • 45 mins
This week Chuck sits down with Anney and Casey to discuss another Oscar contender, Taika Waititi's Jojo Rabbit.
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Speaker 1 (00:00):
Welcome to Movie Crush, a production of I Heart Radio.
(00:29):
Hey everybody, and welcome to Movie Crush Friday Oscar Round
Table Edition. Although this is a mere triangle if we're
being honest. To my right, I have Casey Hello right
in front of me at the far end of the table,
through a mess of wires and microphone stands, which is
super annoying. I had Annie. I like to exist within
(00:50):
the mass and the chaos. That's all good. You do
exist within the chaos and Annie, I should say. I
saw on the movie Crushers page someone said, hey, did
it was everyone like me and went and watched Annie
in the city about it's awesome. So people are watching
it and this the gentleman who posted this particular post
loved it awesome. Well, thank you. We've gotten a few
(01:10):
nice like Amazon and letterbox reviews, so that's cool. Yeah,
that's good, I think he said. I think his comment was,
I could definitely see why Paul is doing a Sofia
Coppela series. Yeah, that's true, So that's great. There's nothing
wrong with wearing your inspirations on your sleeve. I love it.
I think the first like twenty things I tried to
write seem like, what do you allen movies? But I
(01:32):
can't write those anymore. Guys, you can, you can get
you can kind of take over that territory because he's
I think other people already sort of have for sure.
You gotta move quicker. I mean, no, a bomb box exactly.
I was just thinking that he's not too far off
from that field. Yeah, but he just is not a creep.
But yeah, she said, be disappointment. We are here to
(01:54):
talk about Joe. Joe Rabbit though delightful um what they
describe it on wikipe is an American satirical tragic comedy film.
Wow okay, written and directed by Taka Watiti. Did I
pronounce that right? Yes? I believe so, who I think
we can all agree is one of the most exciting,
(02:15):
delightful people in the movie industry right now. I've doing ouf.
This is the first film of his I've seen. People
have been telling me I've got to check out Thor Wragnarok,
and It's What's the Wilder People one? And Hunt for
the Wilder People? Yeah, boy? And What We Do in
the Shadows was on my short list. I love that movie.
So you have seen it? Oh gosh, I love that
(02:35):
and you want to talk about it with me, I
feel like Christmas came early. Yeah. Do you like the
TV show? Yes? All right, save it? Okay. I just
wanted to know that. I don't know if that's a
good or bad thing in your book, but now I
love the TV show. Uh, Taka is great, Casey and
Thor Wragnarok is in the Marble universe. Because you're not
(02:56):
you're down with a lot of those movies right down
with meaning like like sort of I'm more on the
Scorcesean here we go. Uh well, thora Ragnarok is great,
but if you're if you're not a fan of those moods,
but I've heard that one kind of stands out from
the from the crowd and is kind of um yeah,
(03:18):
worth checking out, even even on its own. All right, Well,
it's it is good. But he's great. He's a delight
of a human from what I can tell. And Jojo
Rabbit is a uh it's a pretty complex film, and
I think the first thing that I want to talk about,
if it's okay with y'all, is the tone, Because getting
(03:39):
the tone of a film right isn't always important, but
especially in this case, you really gotta get it right.
This is about as like high wire balancing act, you know,
as you can imagine, like there's so many places where
you could miss step and and go off track and
be utterly tasteless or just derail the film with too much,
(04:04):
you know, deviate too much from the comedic into the
tragic and so on. So it's such a fine balancing act,
and I think he does it really really well. Whether
or not the film as a whole, I thought was,
you know, I like the movie, but even even outside that,
the fact that he pulls this off at all and
it isn't a complete disaster, that it isn't like Springtime
for Hitler and the Producers or something, you know, the
(04:25):
fact that it's actually like watchable and funny is incredibly impressive. Yeah, yeah,
what do you think? Anny? Totally? Yeah, I agree. I
Actually I love Takoa t t love him. And I
was hesitant to see this movie because I thought, I
just don't know, And and the trailer I was watching
it thinking this is gonna be hard to put. It's
(04:49):
a tough movie to trailer. I think, Yeah, oh for sure, Um,
it's hard to explain. I mean that wikipedia just all
those genres shoved into the description that's tough, and I know. Um.
They screened it fifteen times, and they eventually added the
subtitle to to the name an anti hate satire because
(05:12):
people were a little hesitant about especially in our current
climate where Nazis are yep yep um. So I I
definitely think that seeing through a child's eyes, um the
hate and war, I feel like he succeeded in what
(05:36):
he was trying to do. I know that some people
it's been divisive, and some people think that it is
too silly or you're connecting too much with Nazis, the
good Nazis um. But for me, I seeing it from
from the child's perspective, and and because he purposely went
(05:57):
out of his way not to try to recreate Hitler,
trying to be like a child's understanding of what Hitler
would be, says things like that was intense. Yeah, I
think that that helps it work because it is just
this kid who doesn't really get it. He's like his
imaginary friend. He's like a projection of JoJo's interior internal
(06:19):
kind of like his shortcomings. His buddy Hitler is there
to kind of like reassure him or tell him to
be a little more assertive or whatever the case may be,
like a like a girlfriend that was That was like
the thing that I that I didn't necessarily know going in.
I thought when I saw the kind of like goofy
Hitler that he plays, I thought that might actually be
quote unquote Hitler within the world of the film, and
(06:42):
the fact that it is really just this child's imagination, um,
and that the whole film is kind of like any saying,
it's grounded in that child's perspective. You have a certain
amount of innocence and and just not knowing. And as
he kind of knows more and and actually meets like
a real Jewish person and kind of realizes, oh, they're
not these like cartoonish caricatures that we've been sold on,
(07:06):
he immediately kind of starts to come around to the
more you know, human kind of viewpoint that that um,
these are not people to be afraid of, and you know, actually,
this this Hitler guy seems pretty hateful, and so in
that way, I think the film does work that that
it remains in that perspective, and so he gets away
(07:26):
with a lot more in the way of you know,
some of the goofier things that happen. It works because
it is coming from this, uh, this little kid's perspective. Yeah,
and it is a boy at dentse Dnse satire. Uh.
And I can't imagine trying to sell this film in
the room. Yeah, Like who asked for this movie? You know?
He's like it's sort of mel Brooks meets Wes Anderson
(07:47):
where there's this kid who turns out as hiking a
Jewish girl in his attic against his will and his
imaginary friend as Hitler. But it's very sweet and also
tragic and um, just trust me, give me. However, I
don't know what the budget was, but it was not cheap. Yeah,
this this has to be one of those like blank
check sort of you've you've made a number of hits
(08:09):
for us, and so we're gonna let you do this
one kind of thing. Yeah. Well, it's interesting because it's
based on a book. Yeah, but the book has no
imaginary friend Hitler or anything. But the company, the Film Studio,
came to takeo with tcha and was like, we want
you to do it based on his the indie films
he'd already done, but we want you to play Hitler.
(08:31):
And he was a little anxious about that. Yeah, they
suggested that they did. Um. Yeah, And I'm not sure
who I thought it was his idea to put the
Hitler in there. I just know that there was that
was there. They really wanted him to be the Hitler character.
Um comedy. No, he just spun this thing on its head.
(08:52):
I don't know. Yes, he added a lot more comedic layers.
I don't think it was necessarily an outright tragedy, only
had elements of that. Um. But he I guess he
knew his his wheelhouse and he thought what did he
something about like the power of humor to connect with
people and change people's minds. So uh yeah, And it's
(09:14):
interesting now because it's twenty century Fox, which is owned
by Disney, like technically a Disney huge umbrella. Yeah. But
I do think like the elevated satire of it, Um,
when Rebel Wilson's character is like, let's go burn, like,
that helps too, because it was so over the top.
(09:34):
I think that that helped make it more palatable. Yeah.
I think there are certain Like I think the way
people respond to satire is all over the map, and
some people really have a brain that's geared towards that
and get it. Um. Other people, you know, look at
the onion and just are still stupefied. Um. And I
think to your point, putting a rebel Wilson in there
(09:57):
to do what she did really was helped to drive
that home in a big way. Like, hey, everyone, don't
take this seriously. What you're watching is really deep deep
satire or elevated satire. And she was so funny, she's great. Yeah,
she said she had eighteen children for the call. I
(10:19):
love her anyway, and she was she was just fantastic
in this. Um the plot itself, I guess, uh, just
to quickly go over, like what we said, is this
Joe Joe Bettler is a ten year old boy Nazi Germany, uh,
sort of at the end of World War Two, with
a single mother named Rosy. Although we don't really know
about the dad. He's supposedly fighting on the Italian front,
(10:40):
but um, do we even find out. I think he's
probably more of like a defector, right, Yeah, there's somebody
that's okay, was that the deal kind of working for
the resistance but from outside Germany? Maybe? Okay? I couldn't
I couldn't quite remember. It's been a while since I've
seen it the rumors where he had either defected or
ran away. Gotcha, Okay, I didn't know he was alive
or not. Uh. And then Joe Joe finds out he
(11:03):
gets to the name Jojo rabbit Um from his by
going to Nazi youth Hitler Youth training camp, and uh,
it is picked on and he's bullied. And all this
kid wants to do is be a good Nazi, which
is one of the you know, the great character arcs
in this movie. I think, is this young boy, you know,
and I think, tonally, that's such a fine line. But
(11:24):
a ten year old boy in Hitler's Germany would have
been this because the little boys like to play war
and that's all this was to them, and that probably
would have been his idol because he doesn't know any
better at that point. Yeah, And it's like it's a
little counterintuitive at first because his mother is actively working
against all this stuff, but then you realize that she
(11:47):
has to basically, she has to allow her son to
kind of, you know, um, be part of that that
group think, because that's the only way he's going to
survive if she If she starts to tell him right
away that all this is wrong, and he's he's going
to have no way to to blend in as a kid.
It's going to come out one way or the other.
And then he get enough dead. So it's like he
has she has to kind of let him, um, just
(12:10):
go on thinking like everybody else, because it's it's a
matter of his own survival in that way, which was
incredibly painful. Hyeah as a mother. And I mean we
can go ahead and talk about some of the performances.
Scarlett Johnson is really on a roll. Um, not that
this is any kind of surprise, but like we talked
about marriage Story, She's always been great, but these two
(12:32):
powerhouse films here at the end of the year, and
I think she's now. I think she's the highest paid
actress in the world. She really, Yeah, because of the
Marble stuff. I mean that has a lot to do
with it, obviously, because they make gobs of money for
those movies. But boys, she's good in this. She's fantastic now.
She's always been great, Um, right from the beginning. I
thought she always made interesting choices for for roles. And
(12:54):
you know, her performance in a film like Under the
Skin is really really impressive to me. Yeah, she's in
that early Coen Brothers. Well early for her, wasn't there.
So yeah, she's always been great. She's just such a
lovable um, such a good mom in this movie. Yeah,
she was just fun and understanding and really caring, like
(13:16):
in a terrible situation. Yeah. Yeah, and just trying to subtly,
I guess, convince her son that this war is bad
and we can if we can just dance or have
fun or enjoy things. Yeah. Yeah. And the part where
she puts the ash on her face and pretends to
be the dad is so sweet and just heartbreaking. There's
(13:38):
so many moments like that, And talk about the tone
of this movie, so funny and so kind of Melbrook's
goofy at times and then just sucks you in the
face with stuff like that. Obviously, Um, their spoilers abound,
So if you don't want to hear anything and you're
this far into it, please turn it off. But when
(14:00):
when she's killed, well there's the first public hanging that
he sees his mother see and you know, he says,
what do they do? And she says what they could? Yeah,
so you you know right there where she lands on it,
and so he sets it up in two ways with
that first public hanging and then that great shot of
her shoes when she's walking on the wall next to him,
(14:21):
because that's how he chose to reveal um, which is great,
Like I didn't want to see her face, right right.
I think he knew that no one wanted to see that. Yeah.
And the scene starts out so innocently because Joejoe is
following a beautiful butterfly, and then he kind of stands
up and the shoes are right next to his face.
(14:42):
And I think I told you all when I saw it,
somebody in the theater shouted no at the screen. Yeah.
And it holds on that for a decent amount. It
makes you really sit with the sadness of that. Yeah,
And someone yelled out no, that's amazing, and like they
shouted for everyone in the theater. Basically, it was one
(15:04):
of those moments like everyone wanted to scream now. Yeah.
And again it anchors you in that child's perspective because
he's eye level with the shoes, and you know that
being the first thing he saw before he looked up,
You know that that would be the thing that's kind
of steared in your mind. I would think if you
had that kind of experience that would be like the
detail that stuck in there. So yeah, really well done.
(15:25):
And there's also the through line of him not being
able to tie his shoes right and her always helping
him tie the shoes, and so it's a really good
example of what is he going to do now that
she's gone, because she was taking care of him, she
was doing this and now and and a good example
of a payoff in a movie. Um, and it just
(15:46):
now hit me that she ties shoes at the end
of marriage time second movie this year. Yeah, think about that.
I wonder if she's, like, what's going on, gonna be
a cobbler in my next film? Uh? And then Jojo
learns that her his mom is hiding a Jewish girl
(16:10):
in the attic played by Thomas and Mackenzie. She is
fucking fantastic in this movie. I had never seen her before,
did you know anything? She'd kind of brand new. I
don't know, actually, but she's the first time I've seen her.
She I know she's been in one other thing. I
hadn't seen it or heard of it, but yeah, pretty knew,
I think, yes, Yeah, And the nature of their relationship
(16:31):
and the evolution of their relationship is so it's also
a coming of age movie and a and a love
story like of young love in a way because, um,
he learns of her her boyfriend what's his name, Nathan Neil,
I have it in I have it in here somewhere
Nathan Yet you're right, Uh, a boyfriend who we later
(16:52):
find out she knows that he's dead, but he jojo
like a ten year old boy might do, takes upon
himself to these fake letters. Um that you know, end
up in the end being really sweet. But at first
he's you know, he's being really mean about it all. Yeah. Yeah,
and that he almost immediately back checks. I like the
(17:13):
Chaney's cane. He's like, but no, it's really fine. And
that was such a sweet part. That kid man what's
his name, Roman Griffin Davis really great performance. Yeah, I'm
really interested to see where he goes. I love his friend.
He's fantastic. Let me look him up Archie Yates, I think, yeah,
(17:34):
I just saw he's the lead in some new movie.
So he's already been cool. Yeah, tapped. Yeah, it's so
good and it's the kids playing adult. You know that
the end scene or one of the ending scenes where
the war is over basically and Hitler has died at
this point and uh and and little Yorki comes running
through with his with his gun, playing war and they
(17:58):
accidentally shoot off the uh was it a rocket rocket
launcher or something. But it's funny still, it's amazing. He's
really good. There's something about the little like chunky kid
that like respond to in movies. It's very endearing. Yeah,
But at the same time, if you really think about it,
it's so sad that, you know, the German forces have
(18:20):
been so decimated that now they're just grabbing kids or
whoever to kind of be on the front line and
effectively just be a decoy or or you know, a
distraction from the other soldiers that might remain. Undercurrent of
realness is always there. Like it's satirical and funny, but
also there was Hitler youth camps, and there were they
were sticking kids out there, and I mean, you know
(18:42):
that some of those kids did end up getting killed
in combat. And so it's just on on one hand,
it is kind of light and funny. It's kind of
absurd on its face that they're out there kind of
quote unquote playing at war, but then the reality of
it was they really are at this point functioning as
soldiers and you know, like, like I said, some of
them are being killed. So yeah, heavy. So let's talk
(19:04):
a minute about Sam Rockwell and Alfie Allen. I spent
the entire movie trying to remember where I'd seen Alfie Allen,
and I was like, yeah, the very end. See, I'm
not a big Game of Thrones guy, watched it, I
think the first season and that was it. So I
did the same thing and then had to look him
up afterward. But he uh, I mean two characters that
(19:24):
are are clearly homosexual, and that's played for laughs, but
in also the satirical way that like you can't be
out in Hitler's army at all um. But you know,
by the end when they have on like full on
makeup and he finally designed that outfit uniform, it was
(19:44):
such a such a great payoff to actually have that happen.
They were just great together. Sam Rockwell can do no wrong. No, no,
he was great. He's one of the best. Stephen Merchant
pops up near the end. I really enjoyed him to
kind of kind of doing that trope of like the
hyper intelligent menacing. Yeah, yeah, that we've seen. You know.
(20:06):
It's it's sort of the the Christoph Vaults character from
Inglore's Bastards or the guy from the Indiana Jones movies,
and you know, yeah, that's such such a common trope
that that sort of idea that, um, I think the
point that's always been made with those characters is kind
of like you can be this highly cultured, highly educated,
sophisticated person and still be utterly evil, you know, yeah, yeah, yeah,
(20:28):
And I thought it was really interesting that he finds
the book Joe Joe is working on about how monstrous
Jewish people are, in part inspired by um, the girl
into yeah, yeah, and he Stephen Merchant's character is looking
at it like this is really good. But yeah, and
(20:49):
it's I thought that was interesting because it's almost like
racism can just blind you to what you see and
what you'll accept, because it to me, it felt pretty
like he was being pretty legit when he said that, yeah,
looking at this ridiculous thing. Yeah. Yeah, they were way
into it. They're all like, this is fantastic. There's there
is that moment where, um, you know, she realizes that
(21:11):
she got the birthday wrong, right when he quizzes her,
and she knows that, you know, although he acted like
everything was on the level as they were leaving, she
kind of knows deep down that, like they're probably gonna
come back, you know, this is this is just his
way of like planning it a little more before it
has to happen. Yeah. Well, the big reveal though, we
learn is that is that Sam Rockwell's captain has saved
(21:35):
the day. And that's the tonal thing that is tough
here when um, you're portraying nazis not as nothing but evil,
as sort of funny or fun and or potentially helpful
or an ally but you know, if he was a turncoat,
which it turned out he really was, I mean, they
(21:56):
carried that to its fruition fully. Yeah. Um, as he
saved Jojo in the end to his own, you know death.
So I think it's fair, you know, I mean, I
I do think that is. Like I read a number
of reviews for this movie that kind of ran the
spectrum from super positive to kind of somewhere in the
(22:16):
middle two more like heavily critical, and Richard Brodie's review
I thought was pretty fair. He's He's a critic for
one of the critics for The New Yorker, and um,
I'm a big fan of his work. Sometimes I find
him a little frustrating, but overall I'm I'm in favor
of Richard Brody. Um. But his his big critique was
(22:36):
was essentially that you know, by by by having this
kind of trope of like the good German the good Nazi,
you are kind of soft pedaling the reality of what
this is because you're saying, this is a film about
satirizing the Nazis and satirizing hate, but you're kind of
filling it with characters that are somewhat the exception to
(22:57):
that rule. And you know, the vast majority of these
people were hateful, were you know, murderous and evil and
so on. Um, So to kind of center the film
around the one or two exceptions, it just it just
kind of it makes it feel more palatable certainly, but
it also kind of, um, it just softens the blow,
(23:18):
and maybe it's a blow that should not be softened.
What do you think any Yeah, I I I get
that vpoint. I'm still kind of I guess wrestling with
where I land on it. Um. I I remember I
saw inglorious bastards in Europe in Germany, and I the
(23:39):
difference of seeing it with that audience versus seeing it
here made me really think about because for me, for I,
World War Two is sort of removed and I know
all about it, but I've seen more about it in
movies and TV or read about it in books, so
it's sort of easier for me to distance myself from it.
(24:00):
At that moment of seeing Inglorious Bastards in Germany really
crystallizing what was the was it just dead silent and
if you could feel it, you could just feel the
tension in the theater the entire time. So you know,
when I saw Jojo Rabbit, the theaters was mostly people
around my age. Um, so I don't know. Yeah, I'm
(24:24):
I'm wrestling with it. The approaches are both different from
Tarantinos because he brought that up. Yes, I mean Glorious Bastards.
There's a lot of the Christoph Wall stuff. I think
you're meant to laugh at, but it's not satire. He's
always menacing at the same time, like it's funny, but
you're still terrified. You know that opening scene, for instance,
that he's going to hear the people under the floorboards.
(24:47):
You know that the tension is is incredible. But at
the same time he is this kind of like charismatic
screen presence. He's so good at being a villain. You
can't help but kind of be I don't know, energized
or something by his Yeah, it's hard to find the
right word. Yeah. Yeah, because you're certainly not like on
his side or anything like that. You sort of love
to root against him or something. He's like you. I
(25:10):
think I appreciate this approach a little more. I mean,
I loved Inglorious Bastards, but this is so over the
top satire to me, um, and my brain is so
wired for satire that it it hit me and in
all of the right ways, I think, But I certainly
see how it might not. Yeah, And I think that's
(25:30):
the key, is that it is so over the top that,
at least for for a lot of the characters, you're
supposed to be making fun of them, like look how
silly this is, and again framing it from the child's
perspective of look how childish this is, And like teaching
hates to children, it's something that has learned. It's not
(25:52):
like a natural thing. Yeah, tough them that you sent
him to essentially Boy Scouts to Learn Hate. Yeah, I
mean part of the movie felt like what a lot
of people have, you know, nicknamed it moon Wreck Kingdom.
Of course they have, you know, it's way ahead of
me everybody. Um, it had that feel. I mean, it's
(26:14):
clearly an inspiration and I think that was totally kind
of the right thing to do too. Um. I'm curious
about when he was flashing out the the Hitler role though,
like how many, just privately, how many iterations he went
through to get where he landed. I thought his performance
was really good. It was fantastic, and um, yeah, it's
funny that that, um that it's the people who had
(26:36):
the rights to the book who kind of came with
that idea. Yeah, I find that fascinating because just to me,
I assumed it was more like he took on this
project and he's like, how am I going to navigate
this incredibly tough tonal balancing act. Well, at least I
can put myself in the lead role so that I'm
not putting that on somebody else, you know, so that
(26:58):
I'm I'm kind of falling on the grenade if it's
going to explode, you know, I'm going to be the
one who's getting the majority of the blowback, you know. Um,
so I kind of I thought that was something kind
of honorable that he was doing. Like, if I'm going
to ask somebody to to play this role in this way,
it might as well be myself. Yeah, but it's such
a good job. Yeah, he's I mean, he's he's a
(27:19):
great performer. Yeah. I love at the end when he's
he's got like the bloody nose and he's trying so
hard to maintain his hold on Joe Joe. It's just
like a total mess. Um. Yeah, it's funny to read
a lot of the actors when they got the script
were a little anxious about the whole thing. And he's
(27:39):
gonna play Hitler. Yeah, imagine the page. It's it's a
difficult read. Yes, and then to be directed from what
I read he was sometimes in his Hitler outfit directed, Yeah,
you would have to be kind of like going from yeah, yeah,
wow that stuff. Yeah. Probably probably not so many like
(28:02):
behind the scenes photos splitting around. So yeah, I wonder
if he found himself taking a more genteel approach behind
the camera, not raising his voice or anything exactly, that
would be weird. Um, But yeah, to end up playing
him as like almost like a schoolgirl slumber party relationship.
I think it was just kind of perfect. I mean,
it was funny and um it also got a little
(28:25):
almost Looney Tunes esque at times, especially the end, you know,
when he when he kicks him through the window, which
again I think those heightened approaches are what help help
it be more palatable. Yeah, and the mask does slip
from time to time and he does start to sound
genuinely like hateful and frightening. It's a cool balance that
(28:48):
he is like the kind of happy, go lucky, goofy
imaginary friend, but there is that darkness kind of underneath
it that you can sense as well, and that comes
to the surface sometimes again just walking on a fishing line, Yeah,
and trying to get that tone just right. It's a
very ballsy movie, I think. Uh. I mean, I'm not
one to call with a straight face called movie making brave,
(29:11):
but um, you know, I think you're putting yourself out
there with this kind of film. It's a huge gamble,
particularly in the in the current climate. You know, like
I said, there's there's a lot of people who would
probably rather this movie have not been made, just the
idea of of doing anything remotely humorous or playful or
you know, satirical, let's say, around such a serious topic
(29:34):
at a time where we are seeing the resurgence of
that kind of ideology. So yeah, I mean it's or
is it the perfect time? Well, that's the thing. I mean,
chaplain made the great dictator, right, and and that's that
sort of undercutting of the thing that we're so afraid of.
That is this kind of like pure embodiment of evil,
let's say. And to make that, to render that absurd
(29:55):
and ridiculous, yeah, take away its power. Yeah, I mean
that is like that. It's one of those things that
when you can laugh at it, that's really when you
when you kind of have power over it and you've
taken the power back to say, you're ridiculous. You know,
you don't deserve our fear, you kind of deserve our
contempt or are are just our ridicule? You know? Yeah,
(30:15):
he's almost panting Hitler, Yeah, in front of the whole
world because he's so serious, you know, it takes himself
so seriously and to make him an object a ridicule
really undercuts that more than pretty much anything. What about
just filmmaking wise. I mean it looked great. The costuming
was fantastic. In the set design. Um, you know, say
(30:38):
what you want about the Nazis, but they had great uniforms. Well,
they had that a very strong aesthetic sense, you know.
I mean that's again, that's there's that, There's that the
awareness of that gap, that that you could be highly
um developed in your sort of appreciation of art and
form and aesthetics and so on, and still end up
(30:59):
so far yield of you know, good or morality and
so on. Yeah. Yeah, And I think the music was
really good. I love the German Beatles. Yeah, right in
the beginning started to end it. Yeah, it's funny because
I took German in high school and I remember singing
I want to hold your hand. That was one of
(31:20):
the like the things we did in class, was brought
in the German Beatles. And yeah, so when that first
came on, I was like, oh man, I'm in from
mcculla's class, tenth grade all over again. After this movie,
I got home and went on YouTube and just like,
listen to the whole playlist of all the job It's great.
You know, there's like five or six of them. I
think yeah, it was the kind of the perfect choice.
What other music was in it? I'm trying to remove
(31:41):
at the end Heroes, you know, a German version of
that as well. Yeah, And I'm trying to remember there
were any other like pop songs. I don't think so
it's just those too. Yeah. And the rest is like
score maybe yeah. I think they shot it in Prague?
Makes sense? Was that it? It makes sense? Well, I
just mean like the in terms of ping stuff that
(32:02):
still feels like it's from that. Yeah. You can't shoot
it in Atlanta? Yeah, right right. That would have been
great though, because then I could have bugged to get
him in the studio. Oh you did throw out here?
Oh that's true. Yeah, I know these you can't get
a director. I've tried in there. If they're in town shooting,
everyone's like, come on, I don't have time. They don't.
(32:23):
They don't have an hour for you, in ten minutes
for you, which is fine, I get it. Um, what
else can we talk about? What else you got? Great script?
I mean it was nominated already for Best Motion Picture
Musical or Comedy, uh at the Golden Globes, and then
um Best Actor for for the Kid and that's it.
(32:48):
I kind of thought it would be a shoe in
for a screenplay nomination. I don't know, it's maybe it's
tough competition this year because they're only doing five in
each category, right, are they for Golden Globes? Oh? I
don't know Golden Globes. I have no idea. Yeah, Oscars,
I'm thinking, yeah, are they back down to five? I
think they are. Yeah, Well that's WoT you no idea?
(33:11):
I do you know that? Like, you know, they did
the ten for Best Picture for a year or two,
and it seems like they've kind of walked that back
a little bit. Ten's too many. Yeah, yeah, I think
we can all agree. I think it'll be a nominee
for for writing. I'd love to see a couple of
(33:33):
acting nods. I mean, I guess Scarlett Johansson is a
lock for marriage Story, so I doubt if they will,
although it could be a supporting actor exactly, it could
be both categories. She gets leading in a supporting nomin
for her to be pretty sweet? Um, and maybe you
know you always like seeing kids nominated. Oh yeah, yeah,
I definitely deserve it. I mean that's it's a rarity
(33:55):
that you get like a great performance from a kid,
you know, and we got a bunch of it. That's
a really special thing when that happens, Like Thomas and Mackenzie.
She she should get nominated too. Yeah, I loved her
demean her when she first came out. She feels kind
of dangerous. She's the one hiding, right, but she feels
like she has more power than he does. It does.
It's almost like, yeah, and it's interesting to say it
(34:16):
this way, like there's a monster in the attic to him,
the Jewish girl is the monster in the attic, so
that that's probably the threat that he feels. But then
all of a sudden, he's a little boy, got the butterfly,
and yeah, she's she's cute, and oh boy, what are
these feelings? I mean, I mean that that's another critique
(34:36):
you can make, like what if it were somebody older,
somebody you know, who's not cute, you know, he probably
would have sold them that might not be there, you know.
So it does it does kind of raise that that
question of like the dominoes had to fall a certain
way for Jojo to kind of find his way out
of this this mentality that he was in, because it
(34:57):
could have easily gone the other way. You know, it
could have been somebody that he was not hesitant to
report on. You know, for instance, true Love wins. Is
that a message love conquers all, conquers all. Yeah, that
that heartbreak at the end. You know, she doesn't feel
that way about him. So she's he's tin and she's
(35:17):
what like twelve. I think, Okay, it's one of those
things where it's like the age gap kind of in
a way ensures that there can't really be a relationship
there in that way, a romantic relationship. Um, so it's
but I think I think she her way of looking
(35:38):
at him is just like once once things have kind
of leveled off, and he's more like he has like
a crush on her. I think she just finds it endearing,
but you know she's not going to act on it. Yeah,
and she calls him a little brother. Yeah. Yeah, he's
like the classic yeah exactly right him. Yeah, He's like,
(35:59):
you're not a little in that opinion. It's just now
hitting me to that. Sam Rockwell, he played a character
that had some controversy in the Billboards movie too. Yeah,
I've heard he's like cornered the market on that Yeah,
authority becomes sympathetic. Yeah, yeah, I gets. I mean I
see the point people are making. Maybe I'm just a
(36:20):
dumb dumb who checks my brain at the door a
little bit. I mean, you see, you see him do
much worse on screen and three billboards than you do
here here. He's just kind of like the goofy camp
counselor who I think there's some reference to he Like
he's already messed up in some other capacity, so he's
been reduced to this kind of that's like the first
speech that he has when he's in front of all
(36:41):
the kids, he's like, you know, I forget what it was,
but he's like, I goofed up and that's why I'm here,
you know. So and then he gets further the Great Grenades, Yeah,
is blown back. So he's not like he's a bad
Nazi in a number of ways, you know, Yeah, And
I mean at the clearly the worst way that he's
(37:02):
a bad Nazi is that he's I don't think he's
a true Nazi in his heart, Like every action he
takes in the movie kind of subverts it. Yeah, for
the most part, And that ending is great, you know,
he he gives up his own life to save Jojo. Yeah,
I do. I love that scene where you know Jojo
as a child. It really doesn't understand why he's telling
(37:22):
him to leave, why he's telling him to run away,
why he's taking his uniform off him and all that.
Sam Rockwell of course obviously knows that, Yeah, he's liable
to get executed if he hangs around, so he's just like,
just you know, just get out of her. Yeah. I
kind of wondered if it was a throw back to
the beginning when Jojo can't kill the rabbit. Um, and
just that like when you're faced with the moment and
(37:43):
then and Sam Rockwell kind of seeze this innocent rabbit,
it was like trying to save it. Yeah, I think
you're right, Annie, I totally think you're right. Uh. And
then the real ending, you know, with those kids going
out on the street and seeing life returning and then
(38:04):
dancing together. It was just so perfect, such a sweet ending. Uh.
It really like, uh, hit you in all the right spots.
I think, Yeah, And and and this is after Jojo
has lied to her and ny one and she has
to stay and that forever. But then he that was
(38:25):
a tense moment. I was like, oh, man, like you
were going in the right direction. Yeah, you have aired.
So what was going on there? He just wanted to
keep her. He was afraid of what was going to happen.
He was going to lose her, to leave because he
doesn't have anybody now yeah, I mean he's an orphan now.
So yeah, there were so many tense moments like that,
and of course, you know you already mentioned briefly the
(38:45):
one where she got the age wrong. Uh man, I
was I thought they were going to take her. That
was super tense that scene. Yeah, yeah, that would have
been the other big moment. So what happens to Jojo?
Now he's I mean, is there a dad that's going
to come back? No? I think I think don't they
don't They even say that he's dead at some point.
(39:07):
They might make a casual reference to I thought I
remember that, but yeah, yeah, I mean it's kind of
throughout that either he deserted or died or right away.
And the way it's Scarlett Johanson's character, Rosie, she kind
of carries herself as if he's not coming whatever. In
the cases, he's not coming back right right. So I
(39:30):
feel like they said something about going to Paris. I
know that her boyfriend was dead. For some reason, I
seemed to recall that they were talking about going to parents. Yeah,
it seems about right. Yeah, man, I hated losing Rosie.
It's one of those things in a movie where like
it's the right thing for the movie, but it's just
so devastating to a to a viewer. But it's a
(39:50):
reminder of the stakes. You know, if everybody comes out okay,
then it's like, what's the movie about. Really? Yeah, you
had to have something like that. Yeah, And I honestly
I should have seen it coming, but I did it.
Um And in that part where Jojo witnesses her like
handing out the flyers after he's putting up all of
these ro Nazi fires and she's handing out these kind
of resistance flyers. In the first group of people they
(40:11):
saw hanging in the square, they had those flying to
them as a warning. So she knew, yeah, that they
were they were onto her, and she kept doing it
anyway to stuff anything else, Well, I was going to
talk a little bit about this movie does have kind
of a number of I would say predecessors or or
(40:32):
or just movies that are somehow in conversation with this movie. Uh,
there's a movie that Roberto Russellini made right at the
end of World War Two in the actual bombed out Berlin,
like in the actual ruins, called Germany Year Zero, which
is about a young kid around JoJo's age who was
you know, former Hitler youth. The war now being just over,
(40:55):
and it's it's a very kind of like brutal film
about this kid wandering through the rubble of the city
and it does not have a happy ending. You know,
things do not work out well for that kid. He's
really Um it's about sort of this generation that was
caught in the crossfire of all this stuff, of being
indoctrinated into this this hateful ideology and then having all
(41:18):
that fall away, and now they're kind of just in
this awkward position of we're still kids, so we're not
really fully morally responsible in the way that an adult
would be, but we are still kind of we've been
given that belief in what do we do now. That's
one film. There's a German film called The Tin Drum,
(41:40):
which I believe might have one um like Best Foreign
Film at the Oscars and I think nine when it
came out, Um which is kind of told from the
perspective of this German boy and he has It's it's
sort of in that absurdist fantasy kind of tone as well, Um,
who kind of reject you know, all of society, Um,
(42:02):
German society at that time. Yeah, it's sort of felt familiar.
I mean, kids during war and it was Empire of
the Sun and hoping glory. Like there are films that
have sort of danced through that world before. Uh, that
is just so tragic, you know, a child in wartime
and most of these movies are either alone or with
(42:24):
a gang of other kids who have been either disassociated
from their folks or they've died. Yeah, there's there's sort
of left without an adult figure and they really have
to grow up fast if they're going to survive. Another
film like that's come and see. Have you seen that film?
No that I listened to the Friendly Fire episode on
that made me totally want to see it and never
(42:46):
see it. At the same time, I would say see it,
you know, um it sounds like a slog well, I
mean it is unrelenting lye bleak ye and it's the
kind of film that I probably I probably will not
watch again. You know, maybe maybe because it is extremely
well made. Um, but man, it is it is just
like a knife in the heart for like two and
(43:09):
a half hours. It's really long as well. And um,
it's it's one. But to me, it's just kind of it.
It is what the most real feeling film about being
a child abandoned in wartime and really like what that
must have been like. And to me it made the
war so much more like viscerally, um understandable in a
(43:33):
way that I had never quite grasped before from even
other films about children in wartime. Um, this one is
just like it's so um unblinking, you know, in in
the way it depicts what happens in war. So you know,
it's it's an important film. It's a really really well
made film, but it is extremely hard to watch. Cann't see, Annie,
(43:55):
I have not seen it. No, all right, that's all
I've got, Jojo Rabbit fantastic. Shall we give it some
thumbs out of five? Annie, you go first, I'll give
it four, all right, Casey, I'll give it three and
a half, three and a half thumbs. Yeah, it's it's
it's one that I mean, I saw it a couple
(44:17):
of weeks ago. It's one that hasn't necessarily stuck in
my mind very much. Um So, I don't think it's
it's something that I'm going to be thinking about for
a long time per se. But I do have to
give it, you know, a lot of respect for for
just taking something so challenging as this material in this
tone and actually coming out of it looking pretty good.
(44:37):
So he's certainly an exciting filmmaker. Yeah. Yeah, He's one
of those where we're catching him right at the beginning
and we get to see so much. I'm so thankful
that we get to see all this stuff unfold before
us and what is going to be a really unusual career.
It does make me want to see his other films,
so that's always a good sign. I'm gonna give it
(44:58):
four and a half because I thought it all all
worked and for what it was, it it hit all
the marks for me, So four and a half thumbs
for Joe Joe Rabbit. I can't wait to see it again.
It did stick with me. I found myself thinking about
this movie a lot for like the week after I
saw it, And uh, Emily has not seen it yet,
and she really wants to so maybe I'll try and
get out in the theater before it leaves again with her.
(45:21):
That's my goal. Alright. Uh, New Year's over. Thanks y'all.
Thank you a lot of fun. I think. Well, we'll
definitely do more round tables. It didn't necessarily have to
be oscar stuff. Uh, these are a lot of fun,
so let's just do more thistly alright, Happy Holidays. For
(45:53):
more podcasts for my heart Radio, visit the I heart
Radio app, Apple Podcasts, or wherever you listen to your
favorite shows.
Welcome to Movie Crush, a production of I Heart Radio.
(00:29):
Hey everybody, and welcome to Movie Crush Friday Oscar Round
Table Edition. Although this is a mere triangle if we're
being honest. To my right, I have Casey Hello right
in front of me at the far end of the table,
through a mess of wires and microphone stands, which is
super annoying. I had Annie. I like to exist within
(00:50):
the mass and the chaos. That's all good. You do
exist within the chaos and Annie, I should say. I
saw on the movie Crushers page someone said, hey, did
it was everyone like me and went and watched Annie
in the city about it's awesome. So people are watching
it and this the gentleman who posted this particular post
loved it awesome. Well, thank you. We've gotten a few
(01:10):
nice like Amazon and letterbox reviews, so that's cool. Yeah,
that's good, I think he said. I think his comment was,
I could definitely see why Paul is doing a Sofia
Coppela series. Yeah, that's true, So that's great. There's nothing
wrong with wearing your inspirations on your sleeve. I love it.
I think the first like twenty things I tried to
write seem like, what do you allen movies? But I
(01:32):
can't write those anymore. Guys, you can, you can get
you can kind of take over that territory because he's
I think other people already sort of have for sure.
You gotta move quicker. I mean, no, a bomb box exactly.
I was just thinking that he's not too far off
from that field. Yeah, but he just is not a creep.
But yeah, she said, be disappointment. We are here to
(01:54):
talk about Joe. Joe Rabbit though delightful um what they
describe it on wikipe is an American satirical tragic comedy film.
Wow okay, written and directed by Taka Watiti. Did I
pronounce that right? Yes? I believe so, who I think
we can all agree is one of the most exciting,
(02:15):
delightful people in the movie industry right now. I've doing ouf.
This is the first film of his I've seen. People
have been telling me I've got to check out Thor Wragnarok,
and It's What's the Wilder People one? And Hunt for
the Wilder People? Yeah, boy? And What We Do in
the Shadows was on my short list. I love that movie.
So you have seen it? Oh gosh, I love that
(02:35):
and you want to talk about it with me, I
feel like Christmas came early. Yeah. Do you like the
TV show? Yes? All right, save it? Okay. I just
wanted to know that. I don't know if that's a
good or bad thing in your book, but now I
love the TV show. Uh, Taka is great, Casey and
Thor Wragnarok is in the Marble universe. Because you're not
(02:56):
you're down with a lot of those movies right down
with meaning like like sort of I'm more on the
Scorcesean here we go. Uh well, thora Ragnarok is great,
but if you're if you're not a fan of those moods,
but I've heard that one kind of stands out from
the from the crowd and is kind of um yeah,
(03:18):
worth checking out, even even on its own. All right, Well,
it's it is good. But he's great. He's a delight
of a human from what I can tell. And Jojo
Rabbit is a uh it's a pretty complex film, and
I think the first thing that I want to talk about,
if it's okay with y'all, is the tone, Because getting
(03:39):
the tone of a film right isn't always important, but
especially in this case, you really gotta get it right.
This is about as like high wire balancing act, you know,
as you can imagine, like there's so many places where
you could miss step and and go off track and
be utterly tasteless or just derail the film with too much,
(04:04):
you know, deviate too much from the comedic into the
tragic and so on. So it's such a fine balancing act,
and I think he does it really really well. Whether
or not the film as a whole, I thought was,
you know, I like the movie, but even even outside that,
the fact that he pulls this off at all and
it isn't a complete disaster, that it isn't like Springtime
for Hitler and the Producers or something, you know, the
(04:25):
fact that it's actually like watchable and funny is incredibly impressive. Yeah, yeah,
what do you think? Anny? Totally? Yeah, I agree. I
Actually I love Takoa t t love him. And I
was hesitant to see this movie because I thought, I
just don't know, And and the trailer I was watching
it thinking this is gonna be hard to put. It's
(04:49):
a tough movie to trailer. I think, Yeah, oh for sure, Um,
it's hard to explain. I mean that wikipedia just all
those genres shoved into the description that's tough, and I know. Um.
They screened it fifteen times, and they eventually added the
subtitle to to the name an anti hate satire because
(05:12):
people were a little hesitant about especially in our current
climate where Nazis are yep yep um. So I I
definitely think that seeing through a child's eyes, um the
hate and war, I feel like he succeeded in what
(05:36):
he was trying to do. I know that some people
it's been divisive, and some people think that it is
too silly or you're connecting too much with Nazis, the
good Nazis um. But for me, I seeing it from
from the child's perspective, and and because he purposely went
(05:57):
out of his way not to try to recreate Hitler,
trying to be like a child's understanding of what Hitler
would be, says things like that was intense. Yeah, I
think that that helps it work because it is just
this kid who doesn't really get it. He's like his
imaginary friend. He's like a projection of JoJo's interior internal
(06:19):
kind of like his shortcomings. His buddy Hitler is there
to kind of like reassure him or tell him to
be a little more assertive or whatever the case may be,
like a like a girlfriend that was That was like
the thing that I that I didn't necessarily know going in.
I thought when I saw the kind of like goofy
Hitler that he plays, I thought that might actually be
quote unquote Hitler within the world of the film, and
(06:42):
the fact that it is really just this child's imagination, um,
and that the whole film is kind of like any saying,
it's grounded in that child's perspective. You have a certain
amount of innocence and and just not knowing. And as
he kind of knows more and and actually meets like
a real Jewish person and kind of realizes, oh, they're
not these like cartoonish caricatures that we've been sold on,
(07:06):
he immediately kind of starts to come around to the
more you know, human kind of viewpoint that that um,
these are not people to be afraid of, and you know, actually,
this this Hitler guy seems pretty hateful, and so in
that way, I think the film does work that that
it remains in that perspective, and so he gets away
(07:26):
with a lot more in the way of you know,
some of the goofier things that happen. It works because
it is coming from this, uh, this little kid's perspective. Yeah,
and it is a boy at dentse Dnse satire. Uh.
And I can't imagine trying to sell this film in
the room. Yeah, Like who asked for this movie? You know?
He's like it's sort of mel Brooks meets Wes Anderson
(07:47):
where there's this kid who turns out as hiking a
Jewish girl in his attic against his will and his
imaginary friend as Hitler. But it's very sweet and also
tragic and um, just trust me, give me. However, I
don't know what the budget was, but it was not cheap. Yeah,
this this has to be one of those like blank
check sort of you've you've made a number of hits
(08:09):
for us, and so we're gonna let you do this
one kind of thing. Yeah. Well, it's interesting because it's
based on a book. Yeah, but the book has no
imaginary friend Hitler or anything. But the company, the Film Studio,
came to takeo with tcha and was like, we want
you to do it based on his the indie films
he'd already done, but we want you to play Hitler.
(08:31):
And he was a little anxious about that. Yeah, they
suggested that they did. Um. Yeah, And I'm not sure
who I thought it was his idea to put the
Hitler in there. I just know that there was that
was there. They really wanted him to be the Hitler character.
Um comedy. No, he just spun this thing on its head.
(08:52):
I don't know. Yes, he added a lot more comedic layers.
I don't think it was necessarily an outright tragedy, only
had elements of that. Um. But he I guess he
knew his his wheelhouse and he thought what did he
something about like the power of humor to connect with
people and change people's minds. So uh yeah, And it's
(09:14):
interesting now because it's twenty century Fox, which is owned
by Disney, like technically a Disney huge umbrella. Yeah. But
I do think like the elevated satire of it, Um,
when Rebel Wilson's character is like, let's go burn, like,
that helps too, because it was so over the top.
(09:34):
I think that that helped make it more palatable. Yeah.
I think there are certain Like I think the way
people respond to satire is all over the map, and
some people really have a brain that's geared towards that
and get it. Um. Other people, you know, look at
the onion and just are still stupefied. Um. And I
think to your point, putting a rebel Wilson in there
(09:57):
to do what she did really was helped to drive
that home in a big way. Like, hey, everyone, don't
take this seriously. What you're watching is really deep deep
satire or elevated satire. And she was so funny, she's great. Yeah,
she said she had eighteen children for the call. I
(10:19):
love her anyway, and she was she was just fantastic
in this. Um the plot itself, I guess, uh, just
to quickly go over, like what we said, is this
Joe Joe Bettler is a ten year old boy Nazi Germany, uh,
sort of at the end of World War Two, with
a single mother named Rosy. Although we don't really know
about the dad. He's supposedly fighting on the Italian front,
(10:40):
but um, do we even find out. I think he's
probably more of like a defector, right, Yeah, there's somebody
that's okay, was that the deal kind of working for
the resistance but from outside Germany? Maybe? Okay? I couldn't
I couldn't quite remember. It's been a while since I've
seen it the rumors where he had either defected or
ran away. Gotcha, Okay, I didn't know he was alive
or not. Uh. And then Joe Joe finds out he
(11:03):
gets to the name Jojo rabbit Um from his by
going to Nazi youth Hitler Youth training camp, and uh,
it is picked on and he's bullied. And all this
kid wants to do is be a good Nazi, which
is one of the you know, the great character arcs
in this movie. I think, is this young boy, you know,
and I think, tonally, that's such a fine line. But
(11:24):
a ten year old boy in Hitler's Germany would have
been this because the little boys like to play war
and that's all this was to them, and that probably
would have been his idol because he doesn't know any
better at that point. Yeah, And it's like it's a
little counterintuitive at first because his mother is actively working
against all this stuff, but then you realize that she
(11:47):
has to basically, she has to allow her son to
kind of, you know, um, be part of that that
group think, because that's the only way he's going to
survive if she If she starts to tell him right
away that all this is wrong, and he's he's going
to have no way to to blend in as a kid.
It's going to come out one way or the other.
And then he get enough dead. So it's like he
has she has to kind of let him, um, just
(12:10):
go on thinking like everybody else, because it's it's a
matter of his own survival in that way, which was
incredibly painful. Hyeah as a mother. And I mean we
can go ahead and talk about some of the performances.
Scarlett Johnson is really on a roll. Um, not that
this is any kind of surprise, but like we talked
about marriage Story, She's always been great, but these two
(12:32):
powerhouse films here at the end of the year, and
I think she's now. I think she's the highest paid
actress in the world. She really, Yeah, because of the
Marble stuff. I mean that has a lot to do
with it, obviously, because they make gobs of money for
those movies. But boys, she's good in this. She's fantastic now.
She's always been great, Um, right from the beginning. I
thought she always made interesting choices for for roles. And
(12:54):
you know, her performance in a film like Under the
Skin is really really impressive to me. Yeah, she's in
that early Coen Brothers. Well early for her, wasn't there.
So yeah, she's always been great. She's just such a
lovable um, such a good mom in this movie. Yeah,
she was just fun and understanding and really caring, like
(13:16):
in a terrible situation. Yeah. Yeah, and just trying to subtly,
I guess, convince her son that this war is bad
and we can if we can just dance or have
fun or enjoy things. Yeah. Yeah. And the part where
she puts the ash on her face and pretends to
be the dad is so sweet and just heartbreaking. There's
(13:38):
so many moments like that, And talk about the tone
of this movie, so funny and so kind of Melbrook's
goofy at times and then just sucks you in the
face with stuff like that. Obviously, Um, their spoilers abound,
So if you don't want to hear anything and you're
this far into it, please turn it off. But when
(14:00):
when she's killed, well there's the first public hanging that
he sees his mother see and you know, he says,
what do they do? And she says what they could? Yeah,
so you you know right there where she lands on it,
and so he sets it up in two ways with
that first public hanging and then that great shot of
her shoes when she's walking on the wall next to him,
(14:21):
because that's how he chose to reveal um, which is great,
Like I didn't want to see her face, right right.
I think he knew that no one wanted to see that. Yeah.
And the scene starts out so innocently because Joejoe is
following a beautiful butterfly, and then he kind of stands
up and the shoes are right next to his face.
(14:42):
And I think I told you all when I saw it,
somebody in the theater shouted no at the screen. Yeah.
And it holds on that for a decent amount. It
makes you really sit with the sadness of that. Yeah,
And someone yelled out no, that's amazing, and like they
shouted for everyone in the theater. Basically, it was one
(15:04):
of those moments like everyone wanted to scream now. Yeah.
And again it anchors you in that child's perspective because
he's eye level with the shoes, and you know that
being the first thing he saw before he looked up,
You know that that would be the thing that's kind
of steared in your mind. I would think if you
had that kind of experience that would be like the
detail that stuck in there. So yeah, really well done.
(15:25):
And there's also the through line of him not being
able to tie his shoes right and her always helping
him tie the shoes, and so it's a really good
example of what is he going to do now that
she's gone, because she was taking care of him, she
was doing this and now and and a good example
of a payoff in a movie. Um, and it just
(15:46):
now hit me that she ties shoes at the end
of marriage time second movie this year. Yeah, think about that.
I wonder if she's, like, what's going on, gonna be
a cobbler in my next film? Uh? And then Jojo
learns that her his mom is hiding a Jewish girl
(16:10):
in the attic played by Thomas and Mackenzie. She is
fucking fantastic in this movie. I had never seen her before,
did you know anything? She'd kind of brand new. I
don't know, actually, but she's the first time I've seen her.
She I know she's been in one other thing. I
hadn't seen it or heard of it, but yeah, pretty knew,
I think, yes, Yeah, And the nature of their relationship
(16:31):
and the evolution of their relationship is so it's also
a coming of age movie and a and a love
story like of young love in a way because, um,
he learns of her her boyfriend what's his name, Nathan Neil,
I have it in I have it in here somewhere
Nathan Yet you're right, Uh, a boyfriend who we later
(16:52):
find out she knows that he's dead, but he jojo
like a ten year old boy might do, takes upon
himself to these fake letters. Um that you know, end
up in the end being really sweet. But at first
he's you know, he's being really mean about it all. Yeah. Yeah,
and that he almost immediately back checks. I like the
(17:13):
Chaney's cane. He's like, but no, it's really fine. And
that was such a sweet part. That kid man what's
his name, Roman Griffin Davis really great performance. Yeah, I'm
really interested to see where he goes. I love his friend.
He's fantastic. Let me look him up Archie Yates, I think, yeah,
(17:34):
I just saw he's the lead in some new movie.
So he's already been cool. Yeah, tapped. Yeah, it's so
good and it's the kids playing adult. You know that
the end scene or one of the ending scenes where
the war is over basically and Hitler has died at
this point and uh and and little Yorki comes running
through with his with his gun, playing war and they
(17:58):
accidentally shoot off the uh was it a rocket rocket
launcher or something. But it's funny still, it's amazing. He's
really good. There's something about the little like chunky kid
that like respond to in movies. It's very endearing. Yeah,
But at the same time, if you really think about it,
it's so sad that, you know, the German forces have
(18:20):
been so decimated that now they're just grabbing kids or
whoever to kind of be on the front line and
effectively just be a decoy or or you know, a
distraction from the other soldiers that might remain. Undercurrent of
realness is always there. Like it's satirical and funny, but
also there was Hitler youth camps, and there were they
were sticking kids out there, and I mean, you know
(18:42):
that some of those kids did end up getting killed
in combat. And so it's just on on one hand,
it is kind of light and funny. It's kind of
absurd on its face that they're out there kind of
quote unquote playing at war, but then the reality of
it was they really are at this point functioning as
soldiers and you know, like, like I said, some of
them are being killed. So yeah, heavy. So let's talk
(19:04):
a minute about Sam Rockwell and Alfie Allen. I spent
the entire movie trying to remember where I'd seen Alfie Allen,
and I was like, yeah, the very end. See, I'm
not a big Game of Thrones guy, watched it, I
think the first season and that was it. So I
did the same thing and then had to look him
up afterward. But he uh, I mean two characters that
(19:24):
are are clearly homosexual, and that's played for laughs, but
in also the satirical way that like you can't be
out in Hitler's army at all um. But you know,
by the end when they have on like full on
makeup and he finally designed that outfit uniform, it was
(19:44):
such a such a great payoff to actually have that happen.
They were just great together. Sam Rockwell can do no wrong. No, no,
he was great. He's one of the best. Stephen Merchant
pops up near the end. I really enjoyed him to
kind of kind of doing that trope of like the
hyper intelligent menacing. Yeah, yeah, that we've seen. You know.
(20:06):
It's it's sort of the the Christoph Vaults character from
Inglore's Bastards or the guy from the Indiana Jones movies,
and you know, yeah, that's such such a common trope
that that sort of idea that, um, I think the
point that's always been made with those characters is kind
of like you can be this highly cultured, highly educated,
sophisticated person and still be utterly evil, you know, yeah, yeah, yeah,
(20:28):
And I thought it was really interesting that he finds
the book Joe Joe is working on about how monstrous
Jewish people are, in part inspired by um, the girl
into yeah, yeah, and he Stephen Merchant's character is looking
at it like this is really good. But yeah, and
(20:49):
it's I thought that was interesting because it's almost like
racism can just blind you to what you see and
what you'll accept, because it to me, it felt pretty
like he was being pretty legit when he said that, yeah,
looking at this ridiculous thing. Yeah. Yeah, they were way
into it. They're all like, this is fantastic. There's there
is that moment where, um, you know, she realizes that
(21:11):
she got the birthday wrong, right when he quizzes her,
and she knows that, you know, although he acted like
everything was on the level as they were leaving, she
kind of knows deep down that, like they're probably gonna
come back, you know, this is this is just his
way of like planning it a little more before it
has to happen. Yeah. Well, the big reveal though, we
learn is that is that Sam Rockwell's captain has saved
(21:35):
the day. And that's the tonal thing that is tough
here when um, you're portraying nazis not as nothing but evil,
as sort of funny or fun and or potentially helpful
or an ally but you know, if he was a turncoat,
which it turned out he really was, I mean, they
(21:56):
carried that to its fruition fully. Yeah. Um, as he
saved Jojo in the end to his own, you know death.
So I think it's fair, you know, I mean, I
I do think that is. Like I read a number
of reviews for this movie that kind of ran the
spectrum from super positive to kind of somewhere in the
(22:16):
middle two more like heavily critical, and Richard Brodie's review
I thought was pretty fair. He's He's a critic for
one of the critics for The New Yorker, and um,
I'm a big fan of his work. Sometimes I find
him a little frustrating, but overall I'm I'm in favor
of Richard Brody. Um. But his his big critique was
(22:36):
was essentially that you know, by by by having this
kind of trope of like the good German the good Nazi,
you are kind of soft pedaling the reality of what
this is because you're saying, this is a film about
satirizing the Nazis and satirizing hate, but you're kind of
filling it with characters that are somewhat the exception to
(22:57):
that rule. And you know, the vast majority of these
people were hateful, were you know, murderous and evil and
so on. Um, So to kind of center the film
around the one or two exceptions, it just it just
kind of it makes it feel more palatable certainly, but
it also kind of, um, it just softens the blow,
(23:18):
and maybe it's a blow that should not be softened.
What do you think any Yeah, I I I get
that vpoint. I'm still kind of I guess wrestling with
where I land on it. Um. I I remember I
saw inglorious bastards in Europe in Germany, and I the
(23:39):
difference of seeing it with that audience versus seeing it
here made me really think about because for me, for I,
World War Two is sort of removed and I know
all about it, but I've seen more about it in
movies and TV or read about it in books, so
it's sort of easier for me to distance myself from it.
(24:00):
At that moment of seeing Inglorious Bastards in Germany really
crystallizing what was the was it just dead silent and
if you could feel it, you could just feel the
tension in the theater the entire time. So you know,
when I saw Jojo Rabbit, the theaters was mostly people
around my age. Um, so I don't know. Yeah, I'm
(24:24):
I'm wrestling with it. The approaches are both different from
Tarantinos because he brought that up. Yes, I mean Glorious Bastards.
There's a lot of the Christoph Wall stuff. I think
you're meant to laugh at, but it's not satire. He's
always menacing at the same time, like it's funny, but
you're still terrified. You know that opening scene, for instance,
that he's going to hear the people under the floorboards.
(24:47):
You know that the tension is is incredible. But at
the same time he is this kind of like charismatic
screen presence. He's so good at being a villain. You
can't help but kind of be I don't know, energized
or something by his Yeah, it's hard to find the
right word. Yeah. Yeah, because you're certainly not like on
his side or anything like that. You sort of love
to root against him or something. He's like you. I
(25:10):
think I appreciate this approach a little more. I mean,
I loved Inglorious Bastards, but this is so over the
top satire to me, um, and my brain is so
wired for satire that it it hit me and in
all of the right ways, I think, But I certainly
see how it might not. Yeah, And I think that's
(25:30):
the key, is that it is so over the top that,
at least for for a lot of the characters, you're
supposed to be making fun of them, like look how
silly this is, and again framing it from the child's
perspective of look how childish this is, And like teaching
hates to children, it's something that has learned. It's not
(25:52):
like a natural thing. Yeah, tough them that you sent
him to essentially Boy Scouts to Learn Hate. Yeah, I
mean part of the movie felt like what a lot
of people have, you know, nicknamed it moon Wreck Kingdom.
Of course they have, you know, it's way ahead of
me everybody. Um, it had that feel. I mean, it's
(26:14):
clearly an inspiration and I think that was totally kind
of the right thing to do too. Um. I'm curious
about when he was flashing out the the Hitler role though,
like how many, just privately, how many iterations he went
through to get where he landed. I thought his performance
was really good. It was fantastic, and um, yeah, it's
funny that that, um that it's the people who had
(26:36):
the rights to the book who kind of came with
that idea. Yeah, I find that fascinating because just to me,
I assumed it was more like he took on this
project and he's like, how am I going to navigate
this incredibly tough tonal balancing act. Well, at least I
can put myself in the lead role so that I'm
not putting that on somebody else, you know, so that
(26:58):
I'm I'm kind of falling on the grenade if it's
going to explode, you know, I'm going to be the
one who's getting the majority of the blowback, you know. Um,
so I kind of I thought that was something kind
of honorable that he was doing. Like, if I'm going
to ask somebody to to play this role in this way,
it might as well be myself. Yeah, but it's such
a good job. Yeah, he's I mean, he's he's a
(27:19):
great performer. Yeah. I love at the end when he's
he's got like the bloody nose and he's trying so
hard to maintain his hold on Joe Joe. It's just
like a total mess. Um. Yeah, it's funny to read
a lot of the actors when they got the script
were a little anxious about the whole thing. And he's
(27:39):
gonna play Hitler. Yeah, imagine the page. It's it's a
difficult read. Yes, and then to be directed from what
I read he was sometimes in his Hitler outfit directed, Yeah,
you would have to be kind of like going from yeah, yeah,
wow that stuff. Yeah. Probably probably not so many like
(28:02):
behind the scenes photos splitting around. So yeah, I wonder
if he found himself taking a more genteel approach behind
the camera, not raising his voice or anything exactly, that
would be weird. Um, But yeah, to end up playing
him as like almost like a schoolgirl slumber party relationship.
I think it was just kind of perfect. I mean,
it was funny and um it also got a little
(28:25):
almost Looney Tunes esque at times, especially the end, you know,
when he when he kicks him through the window, which
again I think those heightened approaches are what help help
it be more palatable. Yeah, and the mask does slip
from time to time and he does start to sound
genuinely like hateful and frightening. It's a cool balance that
(28:48):
he is like the kind of happy, go lucky, goofy
imaginary friend, but there is that darkness kind of underneath
it that you can sense as well, and that comes
to the surface sometimes again just walking on a fishing line, Yeah,
and trying to get that tone just right. It's a
very ballsy movie, I think. Uh. I mean, I'm not
one to call with a straight face called movie making brave,
(29:11):
but um, you know, I think you're putting yourself out
there with this kind of film. It's a huge gamble,
particularly in the in the current climate. You know, like
I said, there's there's a lot of people who would
probably rather this movie have not been made, just the
idea of of doing anything remotely humorous or playful or
you know, satirical, let's say, around such a serious topic
(29:34):
at a time where we are seeing the resurgence of
that kind of ideology. So yeah, I mean it's or
is it the perfect time? Well, that's the thing. I mean,
chaplain made the great dictator, right, and and that's that
sort of undercutting of the thing that we're so afraid of.
That is this kind of like pure embodiment of evil,
let's say. And to make that, to render that absurd
(29:55):
and ridiculous, yeah, take away its power. Yeah, I mean
that is like that. It's one of those things that
when you can laugh at it, that's really when you
when you kind of have power over it and you've
taken the power back to say, you're ridiculous. You know,
you don't deserve our fear, you kind of deserve our
contempt or are are just our ridicule? You know? Yeah,
(30:15):
he's almost panting Hitler, Yeah, in front of the whole
world because he's so serious, you know, it takes himself
so seriously and to make him an object a ridicule
really undercuts that more than pretty much anything. What about
just filmmaking wise. I mean it looked great. The costuming
was fantastic. In the set design. Um, you know, say
(30:38):
what you want about the Nazis, but they had great uniforms. Well,
they had that a very strong aesthetic sense, you know.
I mean that's again, that's there's that, There's that the
awareness of that gap, that that you could be highly
um developed in your sort of appreciation of art and
form and aesthetics and so on, and still end up
(30:59):
so far yield of you know, good or morality and
so on. Yeah. Yeah, And I think the music was
really good. I love the German Beatles. Yeah, right in
the beginning started to end it. Yeah, it's funny because
I took German in high school and I remember singing
I want to hold your hand. That was one of
(31:20):
the like the things we did in class, was brought
in the German Beatles. And yeah, so when that first
came on, I was like, oh man, I'm in from
mcculla's class, tenth grade all over again. After this movie,
I got home and went on YouTube and just like,
listen to the whole playlist of all the job It's great.
You know, there's like five or six of them. I
think yeah, it was the kind of the perfect choice.
What other music was in it? I'm trying to remove
(31:41):
at the end Heroes, you know, a German version of
that as well. Yeah, And I'm trying to remember there
were any other like pop songs. I don't think so
it's just those too. Yeah. And the rest is like
score maybe yeah. I think they shot it in Prague?
Makes sense? Was that it? It makes sense? Well, I
just mean like the in terms of ping stuff that
(32:02):
still feels like it's from that. Yeah. You can't shoot
it in Atlanta? Yeah, right right. That would have been
great though, because then I could have bugged to get
him in the studio. Oh you did throw out here?
Oh that's true. Yeah, I know these you can't get
a director. I've tried in there. If they're in town shooting,
everyone's like, come on, I don't have time. They don't.
(32:23):
They don't have an hour for you, in ten minutes
for you, which is fine, I get it. Um, what
else can we talk about? What else you got? Great script?
I mean it was nominated already for Best Motion Picture
Musical or Comedy, uh at the Golden Globes, and then
um Best Actor for for the Kid and that's it.
(32:48):
I kind of thought it would be a shoe in
for a screenplay nomination. I don't know, it's maybe it's
tough competition this year because they're only doing five in
each category, right, are they for Golden Globes? Oh? I
don't know Golden Globes. I have no idea. Yeah, Oscars,
I'm thinking, yeah, are they back down to five? I
think they are. Yeah, Well that's WoT you no idea?
(33:11):
I do you know that? Like, you know, they did
the ten for Best Picture for a year or two,
and it seems like they've kind of walked that back
a little bit. Ten's too many. Yeah, yeah, I think
we can all agree. I think it'll be a nominee
for for writing. I'd love to see a couple of
(33:33):
acting nods. I mean, I guess Scarlett Johansson is a
lock for marriage Story, so I doubt if they will,
although it could be a supporting actor exactly, it could
be both categories. She gets leading in a supporting nomin
for her to be pretty sweet? Um, and maybe you
know you always like seeing kids nominated. Oh yeah, yeah,
I definitely deserve it. I mean that's it's a rarity
(33:55):
that you get like a great performance from a kid,
you know, and we got a bunch of it. That's
a really special thing when that happens, Like Thomas and Mackenzie.
She she should get nominated too. Yeah, I loved her
demean her when she first came out. She feels kind
of dangerous. She's the one hiding, right, but she feels
like she has more power than he does. It does.
It's almost like, yeah, and it's interesting to say it
(34:16):
this way, like there's a monster in the attic to him,
the Jewish girl is the monster in the attic, so
that that's probably the threat that he feels. But then
all of a sudden, he's a little boy, got the butterfly,
and yeah, she's she's cute, and oh boy, what are
these feelings? I mean, I mean that that's another critique
(34:36):
you can make, like what if it were somebody older,
somebody you know, who's not cute, you know, he probably
would have sold them that might not be there, you know.
So it does it does kind of raise that that
question of like the dominoes had to fall a certain
way for Jojo to kind of find his way out
of this this mentality that he was in, because it
(34:57):
could have easily gone the other way. You know, it
could have been somebody that he was not hesitant to
report on. You know, for instance, true Love wins. Is
that a message love conquers all, conquers all. Yeah, that
that heartbreak at the end. You know, she doesn't feel
that way about him. So she's he's tin and she's
(35:17):
what like twelve. I think, Okay, it's one of those
things where it's like the age gap kind of in
a way ensures that there can't really be a relationship
there in that way, a romantic relationship. Um, so it's
but I think I think she her way of looking
(35:38):
at him is just like once once things have kind
of leveled off, and he's more like he has like
a crush on her. I think she just finds it endearing,
but you know she's not going to act on it. Yeah,
and she calls him a little brother. Yeah. Yeah, he's
like the classic yeah exactly right him. Yeah, He's like,
(35:59):
you're not a little in that opinion. It's just now
hitting me to that. Sam Rockwell, he played a character
that had some controversy in the Billboards movie too. Yeah,
I've heard he's like cornered the market on that Yeah,
authority becomes sympathetic. Yeah, yeah, I gets. I mean I
see the point people are making. Maybe I'm just a
(36:20):
dumb dumb who checks my brain at the door a
little bit. I mean, you see, you see him do
much worse on screen and three billboards than you do
here here. He's just kind of like the goofy camp
counselor who I think there's some reference to he Like
he's already messed up in some other capacity, so he's
been reduced to this kind of that's like the first
speech that he has when he's in front of all
(36:41):
the kids, he's like, you know, I forget what it was,
but he's like, I goofed up and that's why I'm here,
you know. So and then he gets further the Great Grenades, Yeah,
is blown back. So he's not like he's a bad
Nazi in a number of ways, you know, Yeah, And
I mean at the clearly the worst way that he's
(37:02):
a bad Nazi is that he's I don't think he's
a true Nazi in his heart, Like every action he
takes in the movie kind of subverts it. Yeah, for
the most part, And that ending is great, you know,
he he gives up his own life to save Jojo. Yeah,
I do. I love that scene where you know Jojo
as a child. It really doesn't understand why he's telling
(37:22):
him to leave, why he's telling him to run away,
why he's taking his uniform off him and all that.
Sam Rockwell of course obviously knows that, Yeah, he's liable
to get executed if he hangs around, so he's just like,
just you know, just get out of her. Yeah. I
kind of wondered if it was a throw back to
the beginning when Jojo can't kill the rabbit. Um, and
just that like when you're faced with the moment and
(37:43):
then and Sam Rockwell kind of seeze this innocent rabbit,
it was like trying to save it. Yeah, I think
you're right, Annie, I totally think you're right. Uh. And
then the real ending, you know, with those kids going
out on the street and seeing life returning and then
(38:04):
dancing together. It was just so perfect, such a sweet ending. Uh.
It really like, uh, hit you in all the right spots.
I think, Yeah, And and and this is after Jojo
has lied to her and ny one and she has
to stay and that forever. But then he that was
(38:25):
a tense moment. I was like, oh, man, like you
were going in the right direction. Yeah, you have aired.
So what was going on there? He just wanted to
keep her. He was afraid of what was going to happen.
He was going to lose her, to leave because he
doesn't have anybody now yeah, I mean he's an orphan now.
So yeah, there were so many tense moments like that,
and of course, you know you already mentioned briefly the
(38:45):
one where she got the age wrong. Uh man, I
was I thought they were going to take her. That
was super tense that scene. Yeah, yeah, that would have
been the other big moment. So what happens to Jojo?
Now he's I mean, is there a dad that's going
to come back? No? I think I think don't they
don't They even say that he's dead at some point.
(39:07):
They might make a casual reference to I thought I
remember that, but yeah, yeah, I mean it's kind of
throughout that either he deserted or died or right away.
And the way it's Scarlett Johanson's character, Rosie, she kind
of carries herself as if he's not coming whatever. In
the cases, he's not coming back right right. So I
(39:30):
feel like they said something about going to Paris. I
know that her boyfriend was dead. For some reason, I
seemed to recall that they were talking about going to parents. Yeah,
it seems about right. Yeah, man, I hated losing Rosie.
It's one of those things in a movie where like
it's the right thing for the movie, but it's just
so devastating to a to a viewer. But it's a
(39:50):
reminder of the stakes. You know, if everybody comes out okay,
then it's like, what's the movie about. Really? Yeah, you
had to have something like that. Yeah, And I honestly
I should have seen it coming, but I did it.
Um And in that part where Jojo witnesses her like
handing out the flyers after he's putting up all of
these ro Nazi fires and she's handing out these kind
of resistance flyers. In the first group of people they
(40:11):
saw hanging in the square, they had those flying to
them as a warning. So she knew, yeah, that they
were they were onto her, and she kept doing it
anyway to stuff anything else, Well, I was going to
talk a little bit about this movie does have kind
of a number of I would say predecessors or or
(40:32):
or just movies that are somehow in conversation with this movie. Uh,
there's a movie that Roberto Russellini made right at the
end of World War Two in the actual bombed out Berlin,
like in the actual ruins, called Germany Year Zero, which
is about a young kid around JoJo's age who was
you know, former Hitler youth. The war now being just over,
(40:55):
and it's it's a very kind of like brutal film
about this kid wandering through the rubble of the city
and it does not have a happy ending. You know,
things do not work out well for that kid. He's
really Um it's about sort of this generation that was
caught in the crossfire of all this stuff, of being
indoctrinated into this this hateful ideology and then having all
(41:18):
that fall away, and now they're kind of just in
this awkward position of we're still kids, so we're not
really fully morally responsible in the way that an adult
would be, but we are still kind of we've been
given that belief in what do we do now. That's
one film. There's a German film called The Tin Drum,
(41:40):
which I believe might have one um like Best Foreign
Film at the Oscars and I think nine when it
came out, Um which is kind of told from the
perspective of this German boy and he has It's it's
sort of in that absurdist fantasy kind of tone as well, Um,
who kind of reject you know, all of society, Um,
(42:02):
German society at that time. Yeah, it's sort of felt familiar.
I mean, kids during war and it was Empire of
the Sun and hoping glory. Like there are films that
have sort of danced through that world before. Uh, that
is just so tragic, you know, a child in wartime
and most of these movies are either alone or with
(42:24):
a gang of other kids who have been either disassociated
from their folks or they've died. Yeah, there's there's sort
of left without an adult figure and they really have
to grow up fast if they're going to survive. Another
film like that's come and see. Have you seen that film?
No that I listened to the Friendly Fire episode on
that made me totally want to see it and never
(42:46):
see it. At the same time, I would say see it,
you know, um it sounds like a slog well, I
mean it is unrelenting lye bleak ye and it's the
kind of film that I probably I probably will not
watch again. You know, maybe maybe because it is extremely
well made. Um, but man, it is it is just
like a knife in the heart for like two and
(43:09):
a half hours. It's really long as well. And um,
it's it's one. But to me, it's just kind of it.
It is what the most real feeling film about being
a child abandoned in wartime and really like what that
must have been like. And to me it made the
war so much more like viscerally, um understandable in a
(43:33):
way that I had never quite grasped before from even
other films about children in wartime. Um, this one is
just like it's so um unblinking, you know, in in
the way it depicts what happens in war. So you know,
it's it's an important film. It's a really really well
made film, but it is extremely hard to watch. Cann't see, Annie,
(43:55):
I have not seen it. No, all right, that's all
I've got, Jojo Rabbit fantastic. Shall we give it some
thumbs out of five? Annie, you go first, I'll give
it four, all right, Casey, I'll give it three and
a half, three and a half thumbs. Yeah, it's it's
it's one that I mean, I saw it a couple
(44:17):
of weeks ago. It's one that hasn't necessarily stuck in
my mind very much. Um So, I don't think it's
it's something that I'm going to be thinking about for
a long time per se. But I do have to
give it, you know, a lot of respect for for
just taking something so challenging as this material in this
tone and actually coming out of it looking pretty good.
(44:37):
So he's certainly an exciting filmmaker. Yeah. Yeah, He's one
of those where we're catching him right at the beginning
and we get to see so much. I'm so thankful
that we get to see all this stuff unfold before
us and what is going to be a really unusual career.
It does make me want to see his other films,
so that's always a good sign. I'm gonna give it
(44:58):
four and a half because I thought it all all
worked and for what it was, it it hit all
the marks for me, So four and a half thumbs
for Joe Joe Rabbit. I can't wait to see it again.
It did stick with me. I found myself thinking about
this movie a lot for like the week after I
saw it, And uh, Emily has not seen it yet,
and she really wants to so maybe I'll try and
get out in the theater before it leaves again with her.
(45:21):
That's my goal. Alright. Uh, New Year's over. Thanks y'all.
Thank you a lot of fun. I think. Well, we'll
definitely do more round tables. It didn't necessarily have to
be oscar stuff. Uh, these are a lot of fun,
so let's just do more thistly alright, Happy Holidays. For
(45:53):
more podcasts for my heart Radio, visit the I heart
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favorite shows.
Movie Crush News
Host
Chuck Bryant
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