THE CHANGE: Standing Up, Falling Down (2020) V. Bloodshot (2020) – A film essay

As times change movies are expected to be a little more aware of the world we live in and the people that live in it. This is definitely more expected of mainstream films as they reach a wider audience through and through - this however leaves most independent film to wallow in its our filth if no one is really watching, especially now a days. This hasn’t been clearer than with recent releases - Standing Up, Falling Down (2020) and Bloodshot (2020).

Back in the day, you could rely on indie dramedies to share a important social message that brings certain struggles to light, mainly because indie films don’t have to rely on pleasing the public, but a certain subsection of indie films have become increasingly stagnant and offensively antiquated - Standing Up, Falling Down (2020) for instance is about a young white male protagonist who is trying to find himself, while living back with his parents, while getting the girl and having a black best friend for support; i.e. the David O. Russell Oscar nominated king of all these - Silver Linings Playbook (2012). This very tired and pointless formula positions women as prizes, relationships as escapes and minorities as characters white people look down on,

to laugh at, to educate about their own culture to and to treat as servants; i.e. - a scene where the joke is that an Indian man working as a subordinate to the protagonists sisters, is casually treated like dirt and seen as goofy and weird because he has an Indian accent; as if it was necessary to the film makers to have a character that has an accent, so that dumb white people viewing the movie can laugh. Another strange scene features Billy Crystal asking an Asian man if he wants to sing, Domo Arigato Mr Roboto by Styx at Karaoke - this isn’t too subtle. In an earlier scene, Billy Crystal tells two black characters what “real” Hip Hop is. These tone-deaf excuses for “funny” scenes paint the picture that some independent films have chosen to go the way of the 90's/2000's romantic comedy, where white people are the ones who matter and where there is no need to do anything different.

Bloodshot (2020) - What would seem to be a big dumb mindless action film, and it is. Bloodshot is at least mindful enough to feature a brown person of color as the protagonist, a brown female as the female lead and several side characters whom are black and brown people of color, and guess what? Aren’t used as stereotypes and/or treated to elevate the protagonist with their ethnic backgrounds. Bloodshot has an East Indian computer genius, a black computer genius at the helm, and a completely platonic relationship between the male protagonist and the female lead - Also not to mention the film is extremely entertaining to boot. How is a film made for teenagers, designed to make millions and starring Vin Diesel, more responsible and morally sound than an indie flick starring Billy Crystal about finding your true voice? This, maybe the change we’ve been seeing in mainstream movies like: Get Out (2017), Black Panther (2018), Yesterday (2019), Escape Room (2019), Spider-Man: Far from Home (2019), Star Wars: The Force Awakens (2015), etc. These film trends have been bringing ethnic identity and ethnic normality to the front of pop culture, pushing the reality that everyone no matter what race, is the lead, the villain and the best friend, free of the limitations of stereotypes and harmful old school scenarios involving people of color in film.

Independent film Standing Up, Falling Down seems like it was made in the mid-2000's, and is a relic of where we use to be in film, but more importantly the mainstream has begun to catch up intelligently, and therefore between the two, Bloodshot is shockingly the better film in a world where indies are still seen as the only intelligence and progression in cinema.

• Maurice Jones

The Assistant (2020)

Robert Egger’s The Lighthouse (2019) displayed workplace struggles in the Horror genre, but Kitty Green’s The Assistant (2020) displays the horrors of the workplace in the real life genre.





When Jane (played by Julia Garner), an entry level secretary at a production office, goes about her stressful and degrading tasks, her concerns rise, as evidence piles up that her boss is taking advantage of young women who dream to be actors.





Kitty Green’s debut full length feature is the ultimate combination of her past documentary features, all based on the objectification and gaslighting of young women in the entertainment industry. The Assistant patiently displays an entire day of college student Jane, as she comes to grips with the disturbing reality that her boss uses young women for his own pleasure, promising them their dreams. Underpaid and under appreciated, Jane has to show up first and leave last at her entry level office job that shes constantly told to be thankful to have. As she cleans up after everyone, covers up for her boss and endures constantly taunting and belittlement from her male coworkers, Jane discovers that there is no reward in going to College or working towards your dream job, and people will take advantage of their positions in a company because they can. The Assistant reminds us that money has a strong on hold on us all, that were forced to take an opportunity if it means survival, and the most vulnerable are students and young women. These scenarios for these demographics lead to being talked down to and being gaslit, by “higher ups” who should know better who just wanted to cover their financial gain and positions for better or for worse. What’s so frightening in The Assistant, is that it’s subject matter is reality, and the protagonists involved can’t do a thing about it in these workplace/film institutions, where analyizing a woman's looks is paramount . This is what makes #metoo such an important movement, as it not only protects young women and women alike but confronts workplace abuse and gaslighting in general.





Julia Garner does perfect work playing an entry level worker going through the motions of her day to day in an office, and awkwardly and timidly dealing with the heinous and apathetic actions of her co workers and bosses in the cold backdrop of the film industry. Julia Garner accurately matches the mood and tone of the films direction and colour plate, of greyish green tint among thankless and carelessly sardonic characters, as Jane drowns in a sea of hopelessness and numbing. 


Kitty Green's direction is key as she even takes an interesting notion with clothing, using Jane's outer wear as somewhat protection from lechery in a scene with an HR representive that turns into a gaslighting attack, and ends in belittlement with the shaming of a scarf.





Kitty Green’s frighteningly yet calmingly sobering The Assistant is a reminder that everyone who gets taken advantage of in the workplace is somebody’s mother, father, son, daughter, parent, loved one and/or child. And the importance of change is so everyone has protection and solace under the law, and amongst decent people wherever they are. The Assistant is 2020's first important film of the year. 9/10.

• Maurice Jones

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