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A WWII military pilot makes a valiant effort to be certified insane in order to be excused from flying missions. But there's a catch.
A WWII military pilot makes a valiant effort to be certified insane in order to be excused from flying missions. But there's a catch.
The film's central thesis is a scathing anti-war satire that explicitly critiques the absurdity, dehumanization, and self-serving corruption of military bureaucracy, aligning with progressive ideology's systemic critiques.
The movie features traditional casting with a predominantly white, male ensemble, consistent with its historical setting. Its narrative critiques the absurdity of war and institutional power, but this critique is not specifically directed at traditional identities based on race or gender, nor does it incorporate explicit DEI themes.
The film portrays Christian faith and its adherents, particularly the chaplain, as largely ineffectual and struggling to find meaning or exert moral influence amidst the war's absurdity. The narrative uses the chaplain's plight to highlight the moral vacuum and the failure of traditional morality.
The film "Catch-22" does not feature any identifiable LGBTQ+ characters or themes. Its narrative primarily focuses on the absurdities of war and bureaucracy through the experiences of its protagonist, Yossarian, and the various eccentric characters he encounters.
The film "Catch-22" does not feature any identifiable transsexual characters or themes. Its narrative focuses on the absurdities of war and bureaucracy, with no elements related to transgender identity or experiences.
The movie does not contain any action or adventure elements.
The 1970 film adaptation of Joseph Heller's novel does not feature any instances where a character canonically established as one gender in the source material is portrayed as a different gender on screen. All major characters retain their original genders.
The 1970 film adaptation of Joseph Heller's novel "Catch-22" features characters whose on-screen portrayals align with their established or implied racial identities in the source material. No major character originally depicted as one race was cast as a different race.
Combines user and critic ratings from four sources