In spite of its insufferably whimsical tendencies - exemplified by its original title, "Oh Boy" - the film may have turned out to be a deeply profound modern postscript about fascism.

Niko's problem is not just that he's spoiled and lazy, but that he's a wimp about it. He only maintains viewer sympathy because everyone else in the film is so obnoxious.

It manages to make an entertaining story out of nothing in particular. And just when you get comfortable passively observing a passive observer, the minutest of twists becomes its own call to action.

A somber tale told with jazz, blues, black and white photography, and an incredible performance from Schilling.