With this year quickly wrapping up, I thought that it would be fun to comedically reflect back on some of the films from the past year or two. To remind you of this Filmizon feature, what you will read are completely fabricated facts revolving around the movie world. Some will poke fun at silly aspects found (or ignored) in films, while others will satirize the supposedly real happenings of the movie world behind the scenes. Just in case you haven’t seen the films being poked at below, a very short synopsis has been added next to its bolded/italicized title. As always, feel free to try your hand at some movie comedy in the comments section below.

Every once in a while, a feel good movie is just what is needed. Like a hot cup of cocoa, it can warm the heart, enliven the spirit, and bring comfort to the troubled brain. Just what the doctor ordered this 2019, A Beautiful Day in the Neighborhood, directed by Marielle Heller, reminds us just how important a man like Fred Rogers is – even eighteen years after his final episode aired (and sixteen years after his death). Based upon the article “Can You Say... ‘Hero’?” by Tom Junod (published in the November 1, 1998 Esquire magazine), it is a story that juxtaposes the harsh realities of an embittered, emotionally angry investigative journalist, Lloyd Vogel (Matthew Rhys – The Americans), with the kind-hearted soul of PBS childhood icon Mr. Rogers (Tom Hanks), it just happens that Lloyd’s editor, Ellen (Christine Lahti), feels like it is the perfect time for the man to pull back on the reigns and do a lighter bio-piece on the beloved man.

If you’ve always thought that the Christmas classic Home Alone was a bit sadistic, you ain’t seen nothing yet. Better Watch Out, co-written and directed by Chris Peckover (the story was conceived by Zach Kahn – who also co-wrote the script), plays like a combination of the above mentioned Chris Columbus directed, John Hughes scribed film, and a twist on the home-invasion horror sub-genre – something along the lines of When a Stranger Calls or The Strangers. A tough sell during the holidays, Better Watch Out really didn’t deliver at the box office, yet, in its three years since its 2016 release, it has slowly built a cult following. Twisty as much as it is twisted, Peckover relishes in this horror-fused Hughes-style world. Set in an upper-middle class home, it could sit on the same cold wintery Chicago street found in the 90s gem.

Oh, how times flies – first they were Goodfellas. . . now they’re old fellas. Martin Scorsese re-teams with Robert De Niro, Joe Pesci, and adds Al Pacino (shockingly, the two had never previously worked together) to the mix in the 2019 film The Irishman. All kidding aside, it is fascinating how time changes things. Twenty-nine years ago the triumvirate mentioned above worked together on Goodfellas, three forty-something’s on the top of their game. . . arguably still on their respective games, they are all now north of seventy-five.

If you’ve ever wanted to see a film where a young boy’s imaginary friend just happens to be Adolf Hitler, then 2019's Jojo Rabbit is for you. Based upon Christine Leunens’ novel “Caging Skies”, Taika Waititi (What We Do in the Shadows; Thor: Ragnarok) adapts and directs this unique satire on World War 2 era Germany. Amplifying an already ludicrous Nazi doctrine, Waititi transports us into the world of young Jojo (first time actor Roman Griffin Davis – a terrific find), a slightly mousy boy heading off to Hitler Youth camp. Completely immersed in a society of indoctrination, it is perhaps no surprise that his poor-advice giving imaginary friend is the Führer himself, Adolf Hitler (Taika Waititi) – in many ways, a skewed stand-in for his missing father (who is off somewhere during the war).

One of the more unique films I’ve seen in a longtime, 2019's Parasite, co-written and directed by Bong Joon Ho (Snowpiercer), is a twisty movie best experienced without knowing too much – meaning that this will be as close to a spoiler free review as possible. Like many of his movies, Parasite (which he wrote along with Han Jin Won) deals with class divisions – the divide between rich and poor. In Snowpiercer, he adapted a novel that imagines a post-apocalyptic world where everyone left living resides in a specific compartment of a train depending on his or her wealth, yet this picture is grounded in a certain reality.