Tuesday, October 31, 2017

Creep 2 (2017)

Mark Duplass is back in the most awkward yet commendable horror franchise yet – Creep 2. A movie that is creepier, weirder, more alienating and outlandish than the original though strangely more heartfelt.

Mark Duplass’ serial killer character is at it again, but this time naming himself Aaron, taking the name of Aaron from the first Creep. Aaron is bored after killing 39 people and wants some sort of appreciation for it, so he decides to lure in a YouTube hopeful named Sara to document the life and times of a prolific serial killer.

Creep 2 is very aware of the social complications involving a male serial killer and a female victim in such a realistically intimate movie premise, that it immediately deals with it head on without flinching, but without going to gratuitous lengths to show how “creepy” Aaron could be in this situation. Creep 2 instead does a great job at rekindling the suspense and tension in the first Creep, by downplaying what was scaring and creepy then. It’s protagonist Sara has a calmer disposition than Aaron in the first one, that allows her interaction with Mark Duplass come off more real and cerebral. You can feel what Sara is thinking in terms of her character inside a situation where a serial killer reveals himself, but most of all Creep 2 goes back and forth with it’s premise, that like in reality Sara isn’t completely sure if Aaron is a serial killer or just really really creepy.

Creep 2 is one of the few movies that gets the feeling of online encounters right, creating a realistic scare for your Halloween night while being also pitch perfect for a Valentine’s Day night in.

See Creep 2…if you dare…

- Maurice Jones

Saturday, September 16, 2017

Lemon (2017)

From the minds of married couple Brett Gelmann and Janicza Bravo, comes Lemon, a dark romantic comedy about a self obsessed actor who under goes an immediate self progression, after his indifferent wife suddenly leaves him. 

Based on comedian Brett Gelmann's most recent work, Dinner with Friends with Brett Gelmann and Dinner in America with Brett Gelmann, as well as knowing his marriage to film director Janicza Bravo who happens to be an African American woman, the topic of racial injustice toward African Americans is very much on Brett Gelmann's mind. So much so to write and star in a feature length film about the subtilizes of racism of Lemon. 

Lemon is a brilliantly and deliberately avant-garde made film that is much about a white actor who gets dumped by his girlfriend than it is about the world of acting. What Lemon actually focuses on is the way supposed white liberals and art types, treat and respond to African Americans. That though the idea is that they understand and recognize the struggle of the African American experience, it doesn't mean they want to be personally integrated with Africans Americans themselves. Lemon uses adoptive parenting, vandalism, art critiquing and media as constant physical means of a white person's ignorance of racism in the 21 century. In the movies opening scene, a television program featuring a black woman describing slave era events of her ancestors is on the TV, as our protagonist is sat up sleeping in front the television with a urine stain on the front his pants. Later through the movie the protagonists sister has an adoptive black child and in a later scene our protagonist bonds the most with a wheelchair bound elderly black woman at an Black populated get together, pointing out the deep down aloofness of Jewish white people only being okay with being in the accompaniment of black children and elderly black people and not young black adults to avoid black culture. 

Lemon also comments about the male Ignorance of misogyny and male dominated spaces, having a female characters lines and scenes cut mid way of speaking to display the indifference towards from the male characters point of view because she's female.

Lemon is the few of it's kind that actually dares to show the absence of blackness and black people in mumblecore films and what happens when they become part of the films focus. Exposing its white plight and without blatancy making for an awkwardly interesting film, that gets under your skin the more you think about it.  

- Maurice Jones

Wednesday, December 28, 2016

Elle (2016)

“Paul Verhoeven is back with a possible satire on boredom”

Paul Verhoeven’s Elle is a disturbing story of circumstance about a female video game developer named Elle, who gets raped in her own home. After the fact, Elle begins to receive phone calls from her attacker which leads to a cat and mouse countdown, as to when it will happen again. While this transpires, Elle must deal with disappointment in her son and his abusive girlfriend, disgruntled employees, an ex husband who has moved on, an abnormal mother and her father’s legacy of being a serial killer, whose sinister ideals roped her into a fatal homicidal incident as a 6 year old, turning her into a national pariah.

Elle is a subpar suspense film that reveals it’s self to be an intriguingly complex character study of modern day human clandestine conditioning. The over arching theme being an idea of boredom to reach a certain height, that anything negative yet involved to happen to you, is in some way a blessing to avoid a mundane existence. Such as; garnering a less than substantial job, unexpectedly, excepting a baby that’s not your own and allowing rape to become a sexual fetish of some kind.

The film uses Elle’s video game developing business and therefore video games, as a backdrop to the ordeals Elle and the other characters face. Used as a mocking metaphor of taking on destructive paths within violence and procrastination such as of playing a video game, the idea of real life representing the anti-climatic resolution of beating a video game, and only receiving a title screen/video sequence as a means of reward. As well as an eventual indifference to reoccurring negative tendencies; in relation to the repetitiveness of a video game.

A side plot of Elle is Elle’s relationship with her father, as he roped her into his nihilistic homicidal career when she was a child, instantly creating pathology towards Elle to become a child of nihilism. This adds to the movies theme of invited destruction, as Elle throughout the movie becomes implicit with creating problems between herself and the people in her life for sear pleasure.

This is a mysteriously blunt and clever entry by Paul Verhoeven that organically pushes the point it’s trying to make, while reserved and stylistically stagnant, to make setting contemplations about the films subject matter that can be applied to reality in a modern era.


       -  Maurice Jones

Sunday, November 27, 2016

Moonlight (2016)

Moonlight is about the career of a black man who from childhood to adulthood, has to navigate his life concealing his gay sexual orientation from the masculine black culture of South Florida.

Barry Jenkins debuted with a quiet frustrated slice of life with Medicine for Melancholy (2008). About a black bike courier who contemplates with a black woman who’s in a relationship with a white man. Barry Jenkins returns to the social struggle of the black experience with Moonlight.

Like Boyhood, Moonlight chronicles the touch stone moments of a boy’s life that add up to who he is. What Moonlight does better is focus in on those moments that turns one into their worst self. Through universal cultural missteps and sub cultural missteps of one’s race. There being a notion of mandatory apparent strength, aggressiveness and violence associated with black males within the black community, also linked to the imperative need for a positive male role model in a boy’s existence. As a partly back person myself, I can a test to this but I would most definitely say this cultural gripe is egged on universally by whites through media as a way to belittle the black experience and once again make being a colored person a caricature.

Moonlight also touches on refusal by the black community to understand gay rights and the possibilities of being black to be more 3 dimensional than 2 dimensional. Having the up-bringing of most black males to be a fight to be who they really are as oppose to an image being projected on to them for societies own indifferent pleasures. The movie’s title reflects on this as pertaining to “moonlighting” as someone during the day and as someone else by night. Also portraying an important scene and plot point of the movie as our protagonist has his first gay experience under the blanket of beach bound moonlight.

Moonlight is a very poignant film for one a like to see, and casts an important light onto the eye opening truths of black stubbornness and incapability to see past a crippling stereotype of their communities, while also being the product of a homophobic and prejudice global society. We need to change things once and for all, towards the betterment of our fellow human beings, young and old.

 -                 - Maurice Jones


Monday, November 7, 2016

Christine (2016) “Get out of your head….”

Christine is a 2016 bio-pic about manic determined newscaster, Christine Chubbuck, who shot herself live on air in 1974.

What’s brilliant about Christine is organic way it makes some characters in the film come off a sinister way, based on Christine’s mannerisms, when in reality everyone is just trying to help. It never tries to make Christine into a victim but presents the evidence of her own insecurities as a shining result. Though things get over whelming, unfortunate and laborious for Christine, the movie begs for her to step outside of herself and “see the bigger picture”. Things build up for Christine without any intake of insight and expansive reflection. Whether or not any of the depictions are accurate to the real life circumstances of real life Christine Chubbuck is unknown, but the film creates an important character study of plausible human behavior. And when it gets to the ever so anticipated, heart-stopping trans-gressive climax, it’s handled realistically without sardonic overtones or melodramatic fallacies.

Christine has uncanny touches to David Flincher’s signature style; IE – Zodiac, of creating a sense of dread, but the films atmosphere is extremely straight forward and naturalistic, and if there’s any misconduct, it’s because Rebecca Hall’s performance alienates her world’s intentions.

Rebecca Hall unflinchingly takes hold of Christine Chubbuck and explores the troubled possibilities and apparent neurosis of Christine, using Christine’s infamous speaking voice to expose even further the cognitive emotional battle bubbling underneath her. With Rebecca’s naturally awkward and quietly anxious acting style, she’s able to congruently parallel the pressure of a fast paced newsroom both athirst and unpredictable like an ulcer, which ironically plays an important role throughout the movie. This is Rebecca Hall at her best, honing her talents to conjure the most absorbing performance of her career - Absolute perfection.

The soundtrack is nostalgically amazing and isn’t featured ironically, just appropriate to the times; but displaying the idea of music (especially in a time like the 1970’s) being the one release in where people were free of thought and “man-made” pressure, and were allowed to be who they really are when they were alone.

Christine is one of the few bio-pics that simultaneously portrayed a real person’s life while making a point about stress, self indulgence, western civilization and the importance of self preservation. It cultivates the TV broadcasting experience in all its hyper glory of local and national awareness and spectacle, conjuring a disturbing tone within the lived through past of an actual era, the 1970’s, all thanks to thoughtful director Antonio Campos.


-         -  Maurice Jones

Saturday, October 22, 2016

Force Majeure (2014)

To quote Dustin Hoffman quoting Lenny Bruce in the movie Lenny, referring to his bit about Jackie Kennedy wanting to flee during the assassination of JFK: “People don’t stay……They don’t stay…” Force Majeure is the exact examination of that quote and theory. That a person’s first instinct is to escape sudden tragedy, rather than stick around and help whoever else involved from harm.

Force Majeure is about a family on vacation in the mountains on a skiing trip. One day while the family is having lunch on a patio, a mountain erupts next to them and a mild avalanche over throws their table. Before this happens, the father immediately flees to safety, leaving his wife and two kids behind.  

A father stuck in his head; a wife and kids disappointed. Force Majeure dives deep into the phenomenon of its title, the idea that we all have an internal need to survive and at almost every soon-to-be tragic occurrence, our first instinct is to remove ourselves from wreckage. What Force Majeure does well is the examination of what an Alpha male is, and what being male is meant to be within society but how those ideals are heightened when added to the label of father. The unwritten laws that civilization has placed upon us all, ignores and negates our own feelings on self-preservation. Force Majeure doesn’t only explore the meaning of being male and being a father, as it presents the idea that even though the mother is upset that her husband abandoned them, she too has the same tendency, but in an observational pre-emptive way before any tragedy can be completely noticed.

The director also uses the cold atmosphere of a snow mountain landscape mindfully, by letting the grey tone of the sky with snow fall to illuminate the phony cover up of its characters emotions. To express the pure dread that haunts this whole vacation, as when it starts things seem bright and as it goes on things look more and more glum stylistically.

Force Majeure is a perfect unflinching exercise in human behavior and a testament to the truth of Lenny Bruce’s infamous joke. Definitely a must see film.

-        -  Maurice Jones

Monday, September 26, 2016

Certain Women (2016) Like a horror anthology about misunderstood women.

Last week the fifth and final movie I saw at TIFF, was also my most anticipated of the entire festival, Kelly Reichardt’s sixth and soon to be most seminal film yet: Certain Women.


Certain Women is exactly about that, three mini stories about three different women who work in the same rural counties and whom lives cross paths with unfortunate acquainted circumstances of crisis. Laura Dern is the focus of the first movie, then Michele Williams the second and then Lily Gladstone the third along with Kristen Stewart. Each section is a character study about a certain version of oppression towards a woman and the effects it has on their perspective.


Kelly Reichardt creates her best and most thoughtful piece yet of human observation with Certain Women, by naturally presenting the subtlety in the way a woman in a big career position is seen as less assuring next to a man, how a woman is seen more aggressive when she’s being assertive and how woman can’t easily be seen as heroic. Kelly Reichardt’s signature style perfectly encapsulates this, by letting us sit with these characters and absorb their organic emotional reactions, in a rural setting that reciprocates and highlights those exact feelings. The best thing about Certain Women is that Reichardt’s doesn’t only show the plight of these women, but points out these women have allowed their own resentment based disillusions to remove them from realizing their emotional mistakes.


Laura Dern does a surrounding job as a broken down lawyer with a troubled client, Michele Williams does a poignant measured job as a wife and mother who cares more about her business than her own family, but Lily Gladstone is the break out performance of the film, as a naïve loner ranch worker who falls for the maniac yet cavalier Kristen Stewart.


Certain Women is no doubt Kelly Reichardt’s best film and is a marvel in exposure, and the best way to understand it, is to see it.


  • Maurice Jones