Usually, Deja Vieweds are reserved for classic, under-the-radar gems.

Consider this aspirational, because it deserves discovery.

“Jojo Rabbit” is a daring tightrope walk across the chasm of history, and writer-director Taika Waititi never loses his footing. It’s funny, tearful, and lyrical as all get out.

This audacious satire of Nazi Germany, seen through the eyes of a 10-year-old boy, manages to be simultaneously hilarious, heartbreaking, and profoundly human.

Waititi’s film is a masterclass in tonal balance. It mocks the absurdity of fascism while never diminishing the real horrors of the era. The laughs come fast and furious, particularly from Waititi himself as an imaginary, buffoonish Adolf Hitler, but they’re always tinged with an undercurrent of darkness.

Young Roman Griffin Davis is a revelation as Jojo, a Nazi youth whose world is upended when he discovers his mother (a luminous Scarlett Johansson) is hiding a Jewish girl in their attic. Davis carries the film with a performance that’s both achingly vulnerable and wickedly funny.

But it’s Thomasin McKenzie as Elsa, the hidden Jewish teenager, who truly steals the show. Her quiet strength and sardonic wit provide the perfect counterpoint to Jojo’s misguided fanaticism.

“Jojo Rabbit” is that rarest of films – a comedy about one of history’s darkest chapters that never feels exploitative or disrespectful. Instead, it uses humor as a tool to dismantle hate, showing how even the most indoctrinated can learn to see the humanity in others.

Waititi has crafted a modern classic that will be studied and debated for years to come. It’s a film that dares to find laughter in the depths of human cruelty, all while delivering a powerful message about love, acceptance, and the absurdity of hate.

“Jojo Rabbit” is nothing short of triumph.​​​​​​​​​​​​​​​​

Finally, a monster worth fearing. Forget the rubber suits and toy buildings. This kaiju wants to kill u.

“Godzilla Minus One” emerges as a triumphant return to the roots of kaiju cinema, brilliantly capturing the essence of the 1954 original while infusing it with modern sensibilities.

Director Takashi Yamazaki’s vision transcends typical monster movie tropes, delivering a poignant exploration of post-war trauma intertwined with awe-inspiring spectacle.

Set in 1945, the film’s narrative ingeniously uses Japan’s immediate post-war period as more than just a backdrop. This temporal setting allows for a nuanced examination of themes such as survivor’s guilt, national identity, and the moral implications of scientific advancement.

Our hero, Koichi Shikishima, serves as a microcosm of Japan’s post-war identity crisis, his journey from disillusioned kamikaze pilot to reluctant hero mirroring the nation’s transition from militarism to pacifism.

Yamazaki’s background in visual effects shines through in the film’s stunning portrayal of Godzilla. The monster design strikes a perfect balance between honoring the iconic silhouette and incorporating modern paleontological insights. The seamless integration of CGI with practical effects creates a tangible sense of scale and presence, crucial for the film’s impact.

The cinematography, led by Kozo Shibasaki, employs a desaturated palette that evokes both period authenticity and emotional gravitas. Dynamic camera work during action sequences contrasts effectively with contemplative static shots, creating a visual language that underscores the film’s thematic duality.

The auditory landscape of “Godzilla Minus One” is a character in itself. Sound designer Shoji Hata reimagines the iconic Godzilla roar with a deeper, more guttural quality, symbolizing the monster’s connection to earth and nuclear devastation. Naoki Sato’s score masterfully blends traditional Japanese instruments with orchestral elements, enhancing the film’s emotional resonance without overpowering the visual narrative.

A crucial aspect elevating “Godzilla Minus One” for international audiences is its presentation in subtitles. The approach is a master stroke, surpassing dubbed versions because the plot is never lost in translation or emphasis. The dubbed version is weaker by magnitude.

“Godzilla Minus One” is not merely a return to form; it’s a reinvention of the kaiju genre for the 21st century. By grounding fantastical elements in historical reality and psychological depth, Yamazaki has created a work that resonates on multiple levels.

This approach not only honors the film’s Japanese origins but also enhances its universal themes. “Godzilla Minus One” sets a new standard for monster movies: He’s not monkeying around.