One Sentence Reviews: Parasite (2019)

Best Picture Award Winner Parasite is ultimately about the push and pull between the rich and the poor and how that dynamic will never end due to Capitalism. What a nightmare. 9/10.


- Maurice Jones

1917 (2019)

If the Irishman is about the passage of time ,1917 is about the immediate passage of time.

When British two soldiers stationed during World War One, are ordered to send a message to a battalion of 1600 British soldiers to stop an ambush by the German army. For the two Soldiers, the distance of the journey is the least of it. 

Sam Mendes’ 1917 is the most realistic World War One theme park ride you’ll attend at the movies, with bombs going off you can feel, deafening shots you can absorb and real fear you carry for it’s two protagonists who are carefully walking the grim terrain of No Man’s Land. This paired with the idea of one shot, Roger Deakin’s sparklingly haunting cinematography and the co-writing of Krysty Wilson-Ciarns story of the human spirit and experience, 1917 is the saviour of cinema. 

Created into one shot, 1917 makes the rest of the film as it goes on, feel like memories of the protagonists as your following the protagonists so closely and succinctly. You feel apart of them and as their experience, the film feels like those moments when you’ve driven somewhere and you can’t remember the drive, or when you find something you’ve been looking for and you can’t fathom how you found it. The experience is scary there being only two characters you’re following, knowing these soldiers are hungry and impatience, and when it’s all said and done, you imagine this being in this time period more, and outside of it you ask, how is this film making possible. 

1917 is very much about the grip of the military forcing you to do things you shouldn’t in the malice of grain, but it ultimately adding up to nothing. The emotion is there from moment to moment as you know these soldiers deserve to be home with their loved ones as oppose working towards sudden death in the name of a country. 10/10.


- Maurice Jones

BEST 10 FILMS OF 2019

1. The Death of Dick Long (2019)

The most uncomfortable feel-good movie of the year. Black comedy at it's finest with earnest performances, and a soundtrack that paints a hilarious and life-like story of southern suburban lifestyle in crisis, completely uncompromising and unique displaying the comedy of keeping a secret. Very Cohen Brothers-esque.

2. Midsommar (2019)

Shocking, bold and inspired. Midsommar is a milestone in mainstream horror cinema, with unflinching gore drenched in hallucinatory vision, surrounded by the creeping setting of a trapped situation and daunting self-realizations. Fair passing Hereditary with Midsommar, Ari Aster is the horror director well needed to direct horror in a meaningful direction, of merging pure grief with terror and resolve.

 3. Marriage Story (2019)

Noah Baumbach is one of my favorites and he's back with his most effective film yet; Marriage Story. Autobiograpical of Noah Baumbach's own divorce, Marriage Story paints a clear picture of two people who've made mistakes coming to terms with the end of their relationship. As the film shows the path of two, Adam Driver's character is the protagonist for the better half of the film being the one on the worse end of the deal. Though one person maybe more flawed than the other, Noah Baumbach shows the far from positive experience of divorce whether you deserve it or not as a whole, and the importance of memories to any experience no matter how bad.

4. JoJo Rabbit (2019)

A truly meaningful satire that gets to the core of what makes satire important.

5. The King (2019)

Hardcore and direct with a realistic and unflinchingly matter of fact performance by Timothee Chalamet, The King tells the story of Henry V without false or fail, throwing you into the grim, connectic steel of the 15th century war and politics. Furthermore, exposing the back and forth strategy and malice Henry V went through in his reign as King of England.

6. Us (2019)

The most thought provoking film of 2019, Us keeps you thinking on all levels, upon race, self hate, politics and most of all class. With something for everyone to bite into, Us further proves Jordan Peele's attention to detail, handling of social ideas and issues, and his expert mixture of said themes with horror, becoming a definite important part of cinematic history. Not to mention adding much needed exposure of dark skinned black protagonists in the fore front of mainstream cinema.

7. Light of my Life (2019)

Brutal yet heart felt, Light Of My Life will stick with you as it's depiction of a post apocalyptic world reads true, and reminds you that when it comes to protecting the ones you love, no matter how far you'll go it'll be as real as can be. Serving as an allegory for #metoo and father/daugther relationships, Light Of My Life hits home.

8. Little Woods (2019)

A pain-stakingly powerful story about being black in Appalachia and the sobering struggle of true poverty. Peppered with great performances and heart breaking plot points, director Nia Dacosta makes an important eye opening debut.

9. The Art of Self-Defense (2019)

An extremely comedic satirical dark parable about the pit falls of toxic masculinity, and being one's self, while fighting back at fascism's control with it's own force.

10. Luce (2019)

A deep look at colorism, white liberalism, black shaming, #metoo and cultural war torn upbringing, in it's relation to adoption in the United States. Luce takes up a discussion about black Americans and their irate connection to black Africans, and the treatment of black Americans in their own country in favor of white adopted blacks from abroad. A truly important and serious film that that sheds light on topics, and the details of certain topics that rarely or if at all get talked about.



- Maurice Jones

Best Album of 2019: Triples - “Big Time” (2019)

When it comes to the best album of the year, for me it’s about inspiration, boldness, fun, integrity and heart. All of that and beyond is found here in Big Time by Toronto duo Triples. A 10 song cassette full length debut, that harkens back to early 90s lo fi indie punk aesthetics, and carry over of the same indie style of the early 2000s underground emo and 90s revival scene.

Youthful yet old school and nostalgic, Big Time carries those skate punk jangly off signature guitar riffs into songs about growing up, heart break and even climate change, all woven together through overwhelmingly warm harmonies and much needed female perspective. Big Time will make you flourish in the 90s punk lo fi outlook and memories which could bring you to tears and unleash your inner mosh all at the same time. For all those reasons and more, The Best Album of 2019 belongs to Triples - Big Time.

Triples reminds me that the Toronto GTA will always have some of the best music ever created and the best pop rock ever made. 

If you’re a fan of PLUMTREE, Cap n’ Jazz, Liz Phair, Juliana Hatfield, Frankie Cosmos or of anything that truly rocks, Triples is the one for you. Check em out.

 https://triplesband.bandcamp.com/album/big-time

10/10

• Maurice Jones

JoJo Rabbit (2019)

A true comedic satire of 1940’s Nazi Germany, with a real heart surrounded by the harshness of the Nazi party, racism, fascism and the reality of nationalism and war. 

Taika Waititi is back with JoJo Rabbit, about a ten-year-old boy JoJo, who’s being groomed to be a Nazi solider in the midst of WW2 Nazi Germany. His imaginary friend Hitler aids him along the way as JoJo hopes to one day befriend the real-life Hitler and become a full-fledged Nazi solider. When JoJo finds a Jewish girl hiding in his dead sister's bedroom walls, JoJo has to quickly come of age, when it comes to exposing the Jewish girl to the Gestapo or helping her escape Nazi Germany safely. 

JoJo Rabbit is a cinematic triumph in Taika Waitit’s career, being his most daring, possibly most affective film to date and his most emotional poignant film yet. Perfectly melding the topic of hatred with the banality of evil and straight ignorance and stupidity, creating joyfully dry comedy while never forgetting it’s a film about Nazi’s. Taika Waititi isn’t afraid to hit us with a brunch of chuckles, knowing he’s going to knock us onto the cold, sobering ground of fascism, hate and destruction. Taika starts off the film light and cute with flashes of real-world horror, but eventually it crescendos into practically a full blown war picture. Powerful and frightening with flashes of comedy throughout. 

JoJo Rabbit subtly yet boldly and rightfully shows the propaganda of it all, the facade of war. That we’re all just on teams wearing colours and waving flags, but if we’d all just claim down and let everyone be their own design without exclusion, greed or abuse, there is no need for war. If we could all just feel the pleasure of being loved and live in it. 

Taika Waititi has created a rare feat of the anti-family film or the uncensored children’s movie. Where a ten year-old boy can be the centre of a heart-warming tale about historic hate, that doesn’t shy away from the truth, but accurately makes light of pain for the better.



9/10

• Maurice Jones

The Lighthouse (2019): Employee/Manager Relations

Two fishermen in the 1800’s (played by Robert Pattinson and Willem Dafoe) are dropped off at a coastal island that harbours a lighthouse, to enact maintenance on the estate for a few days. When their boat ride back home is delayed due to a storm, things take an unnecessary dark turn. 

As Robert Egger’s, The Witch is very much about strained family relationships, Robert Egger’s, The Lighthouse is very much about strained workplace relationships. About how gruellingly intense the nature of a blue-collar job is, that leads one wanting to relax or fuck around to debauchery type lengths, because of the repetitive nature and low-income reward of these jobs. The film showing the only relief after a hard day at work is drinking, pointing out a cause for alcoholism. 

The ultimate signifier of darkness in The Lighthouse is its dark, tonally moody, sinister score, that shrouds the film from moment one. Preparing you for the grim regretful journey of two fishermen.



The use of fart, bird and hyperbole humour, illuminates the anger and intensity of the films characters and makes things oddly creepier knowing they’re acknowledged later in the film. The set pieces you notice and comment on to yourself are brought up by the characters nearing the films climax, expressing the frustrations built up in this scenario which gives way to the regrets the characters have in their past lives, making this film partly about ones trajectory in life and the toll the past takes on you when you’re not where you want to be. And like the blue collar work place one puts their head down and ignores extreme conditions to get the work done only to relieve their thoughts later in the gaze of masculine design. 

The dynamics of the manager and employee relationship is very much put on display in The Lighthouse. The greed of capitalism and the power of status that makes a person in a managerial position treat a person in a subordinate role like a dog and that pain being so felt that the subordinate wants to reverse the situation so exactly making the manger feel what the subordinate feels as pointed out in the film. Along with workplace safety ignorance in a company and the manipulation of the worker. 

Beautifully shot in Nova Scotia with its vast lighthouse cliff water scenery and roaring storms. Set in rectangle aspect ratio coloured with black and white, which cozies you into the story but as well marvels you and disturbs you at the same time. With such simple aesthetics, the aspect ratio centres key moments all fenced and dripping with cold unforgiving storm water. Not to mention the blast of the air conditioning at your local cinema that adds the experience of the films frigid wet landscape that makes you wonder how many times the actors got sick being in constant torrential rain. 

Robert Pattinson puts himself threw the ringer as he did in Good Time, again portraying someone who beyond desperate and like Pattinson himself, will do anything to prove themselves.

As Pattinson carries the film Dafoe anchors it, and forms it with a strong and terrifying performance that has no mercy or back down, and is effortless self assured beyond any role Dafoe has done. Both actor’s unconventional facial features and eye intensity, were absolutely made for this films creepy and broken intentions of the 1800’s. 

Eggers again shows talent in the “Horror Hangout” movie and in a deep longing character study of location, place and home among people of a certain older time period striped of the amenities and thoughtfulness we so dependently need and rely on. First with family annoyances in The Witch and now workplace annoyances with The Lighthouse to extreme degrees. 

The Lighthouse is great sophomore effort in the exercise of momentary pain and strain, and all that has created it. And oddly makes you want relive it all once you’ve see it, because of the relatability of work culture and the allure of something that’s barred from us as some sort of a next level promotional amenity, only to come to terms, with your place in life.



9/10

• Maurice Jones

IT: Chapter Two

Upon re watching IT: Chapter One, which thrilled me to no end in theatres, unfortunately didn’t thrill me at all re watching at home. All the scares I anticipated too much this time and the obvious set pieces became even more obvious. Mike is needless replaced by Ben as the town historian and the heart felt moments didn’t seem as heart felt as they once did, not to mention that “creepy” old house that looks like a Spirit Halloween prop.

Upon watching IT: Chapter Two, I came to realize as I’ve always believed, things are scarier and more entertaining with adult protagonists.



The Loser’s Club is all grown up and Andy Muschietti sets the stage with Pennywise the dancing clown 27 years later, for an awkwardly directed, bizarrely jam packed, CGI abused, most Stephen King-esque horror adventure that’s ever been put to film in a while. 

IT: Chapter Two takes inspiration when needed and properly sets up comedic elements to remind us of the comedic excitement of the first chapter and then some. The film makes use of Bill Hader as Richie and James Ransone as Eddie, who give us many thrillingly funny moments which brilliantly comment on the films weird plot points and Mike’s sometimes extraneous exposition, even though their comedic timing relies heavily on the use of “FUCK”. The adult cast though, is perfect, each cast member reflecting on their child counter part which works well with many constant childhood flashbacks, and the adult cast giving their all to the performances, making us believe in them when we need to. And once again Bill Hader and James Ransone give emotional relevance that absolutely makes this film.



Bill Skarsgard as Pennywise has more to do but weirdly feels subdued at points, but that just makes room for different kinds of horror to happen but more involved dialogue from Pennywise would of been great. 

Many negatives haunt the film as expected but one would wish these could be avoided. Such as; use of CGI when not needed, the horrendous CGI of the child actors in flashbacks, the casting of adult Beverly with Jessica Chastain, as it should of been Amy Adams, seeing Amy Adams has played adult Sophia Lillis before, in HBO’s Sharp Objects and can handle emotional reflecting way better. The film is awkwardly edited which takes you out of the film quite a few times. The staging of the Bill, Ben and Beverly love stage feels forced and soap opera-esque. The films dialogue could have used more creativity during horror scenes besides screaming “NOOOOO!!!!” at every chance. And again, the film relies on “SHIT” and “FUCK” too give us thrills. Beyond that the films score is a little too predictable and child like to invoke fear, a Carpenter-esque score would have worked better to create a real horror tone. 

As an important note, IT: Chapter Two isn’t afraid of depicting gay characters (even if those moments and characters have a tragic end), and as a mainstream movie this is commendable, as we don’t see gay depictions as an everyday thing in mainstream films as often as we should. I also appreciated a black horror lead in adult Mike well acted by Isaiah Mustafa. He guided the story and gave the exposition, began and ended the film, and wasn’t a stereotype or shy of expressing sadness and love for others as a black male character in a mainstream horror film. IT: Chapter Two also shows many instances of male to male love and friendship and images of the male body as just what it is, a body. Also, the film being set in 2016 (27 years from 1989), the vulgarities of what people said then before awareness of fat-shaming and Me Too isn’t hidden away from, and really puts into perspective how times can change so quickly and importantly. 

IT: Chapter Two presents more much needed real-world violence and grand images for thrills, with self aware big swings that give us a very Stephen King horror experience. With many laughs, a great and talented cast, and good heart felt intentions behind it all. That’s all we can ask for in a horror movie, let alone any movie. 9/10.

• Maurice Jones