Mathilda, a 12-year-old girl, is reluctantly taken in by Léon, a professional assassin, after her family is murdered. Léon and Mathilda form an unusual relationship, as she becomes his protégée and learns the assassin's trade.
A young and talented drummer attending a prestigious music academy finds himself under the wing of the most respected professor at the school; one who does not hold back on abuse towards his students. The two form an odd relationship as the student wants to achieve greatness, and the professor pushes him.Written by
Buddy Rich, the famous drummer who Andrew idolizes, never received any formal music education and said he never practiced. See more »
When the Studio Band takes a break before Andrew (the "Squeaker") plays Whiplash for the first time he is shown in the hall writing notation on the Whiplash manuscript in pen. Presumably this is an original copy that he would not have had time to make his own copy/ copies for making notes- and an accomplished musician would not use pen for marking timings on music. Musicians only pencil so manuscripts can be cleaned (marks erased) and reused. Immediately in the next scene when Andrew stands and starts walking with Fletcher, Andrew is clearly carrying a pencil. See more »
Nieman, you lost the fucking part.
No, I didn't! You can't fucking do this to me!
When did you become a fucking expert on what I can or cannot do, you fucking weepy willow shitsack?
I earned that part.
You never earned anything. God, you are a self-righteous prick. The only reason you are a core is because you misplaced a folder. The only reason you're in studio band to begin with is because I told you EXACTLY what I'd be asking for in Nassau! Am I wrong?
Yeah, yeah. I'm in studio ...
[...] See more »
Greetings again from the darkness. The pursuit of greatness is not always pretty. No matter if your dream is athletics, dancing, music or some other; you can be sure hard work and sacrifice will be part of your routine. You will likely have a mentor, teacher or coach whose job is to cultivate your skills while pushing you to new limits. This film questions whether the best approach is intimidation or society's current preferred method of nurturing.
Miles Teller plays Andrew, a first year student at an elite Manhattan music conservatory. Andrew dreams of being a great jazz drummer in the vein of Buddy Rich. When offered a rare shot at the top ensemble, Andrew quickly discovers the conductor is a breed unlike anything he has ever encountered. The best movie comparison I can offer for JK Simmons' portrayal of Terence Fletcher is R Lee Ermey's Drill Instructor in Full Metal Jacket. This is no Mr Holland's Opus. Fletcher bullies, intimidates, humiliates and uses every imaginable form of verbal abuse to push his musicians, and especially young Andrew, to reach for greater heights.
Andrew and Fletcher go head to head through the entire movie, with Fletcher's mental torment turning this into a psychological thriller ... albeit with tremendous music. We witness Andrew shut out all pieces of a personal life, and even take on some of Fletcher's less desirable traits. Andrew's diner break-up with his girlfriend (Melissa Benoist) is much shorter, but just as cold as the infamous opening scene in The Social Network. At a small dinner party, Andrew loses some of the sweetness he inherited from his dad (Paul Reiser), and unloads some Fletcherisms on some unsuspecting family friends.
Writer/Director Damien Chazelle has turned his Sundance award-winning short film into a fascinatingly brutal message movie that begs for discussion and debate. The open-ended approach is brilliant, though I found myself initially upset at the missing clean wrap that Hollywood so often provides. What price greatness? Is comeuppance a reward? Are mentors cruel to be kind? For the past few years, I have been proclaiming that Miles Teller (The Spectacular Now) is the next John Cusack. Perhaps that bar is too low. Teller just gets better with each film. His relentless energy draws us in, and we find ourselves in his corner ... even though this time, he's not the greatest guy himself. Still, as strong as Teller is, the film is owned by JK Simmons. Most think of him as the dad in Juno, or the ever-present insurance spokesman on TV, but he previously flashed his bad side as the white supremacist in "Oz". Even that, doesn't prepare us for Simmons' powerhouse performance ... just enough humanity to heighten his psychological torturing of musicians.
You should see this one for Simmons' performance. Or see it for the up and coming Teller. Enjoy the terrific music, especially Duke Ellington's "Caravan". See it for the talking points about teachers, society and personal greatness. See it for any or all these reasons - just don't tell director Damien Chazelle "good job".
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