I don't say that often, in fact...never. There aren't enough superlatives to describe the amazingness of Whiplash. Damien Chazelle crafted not just a tense dramatic piece of cinema, but a thematic experience with layered subtext. Andrew is a college student who simply wants to be the best drummer. Terence Fletcher, a renowned teacher at said college, sees potential in Andrew and chooses him to be the drummer in his band, at the expense of emotional distress. This is a brutal character study, absolutely savage. This is about Fletcher as much as it is about Andrew. The psychological battle and the consequential emotional turmoil that follows. I've never been so compelled in a drama ever (and this is my 5th viewing). The strive for perfection amidst the continuous passion that elevates Andrew as a person and how Fletcher uses his passion in attempt to obtain the perfect musician that Andrew hopes to be. The struggle for perfection is difficult in any profession, there is no right or wrong way to achieve this; the question is: "is there a line between gently pushing someone towards a goal or inflicting emotional torture upon them?". Fletcher leans towards the latter, so much so that he actually imposes physical damage to Andrew to test whether he will be discouraged from the harsh reality of perfection or not. The internal struggle in Andrew is excellently conveyed, you can see his passion seeping through the blood, sweat and tears and yet mentally unable to cope with Fletcher's methods. A simple story, but executed with such ferocity and intelligence that it just feels fresh. Damien Chazelle directed the heck out of this. Quick cuts between the musical instruments and nice long takes of Miles Teller and J.K Simmons duelling in anger. Speaking on Simmons, the best performance I've seen in years. Both complicated and terrifying simultaneously, he deserved every award. Teller was near perfect as well, conveying innocence and vulnerability. Look, I can talk about Whiplash forever. It's a masterpiece. End of review.
1,748 Reviews
An incredibly powerful film!
Gbert25428 January 2014
http://switchingreels.com/2014/01/28/sundance-review-whiplash/
Ever had a dream of being a great football player? A great dancer? A great singer? A great musician? Our protagonist has a dream of being a great drummer, a drummer that will be remembered forever. Maybe you are still fighting for your dream. Maybe you have given up on greatness. Greatness doesn't come easily, you need to practice at it. Andrew practices until his hands bleed.
Andrew (Miles Teller) is 19-year old student at a music conservatory in Manhattan. Terrence Fletcher (J.K. Simmons) is a teacher at the conservatory with a ruthlessly brutal teaching style. After picking Andrew to play in the school band, he pushes Andrew to his limits in order to realize his full potential, at the risk of his humanity.
I had a billiards teacher at one point in my life, who was close to becoming a pro in his craft but a grease fire accident changed all that. His perspective changed, to paraphrase, he realized he was becoming an asshole. He became a teacher of pool instead of becoming a pro player. Through him, I can understand what Terrence Fletcher was trying to instill into Andrew. My teacher would push me a little bit. When he gave me opportunities to show him up, "run the table now," he would tell me, I failed. It's embarrassing when that happens but it's also a learning tool because more work needs to be done. You can't get by on talent alone but it certainly helps. On the other side of it, I saw a little bit of my teacher in Andrew. Losing who you are to perfect something you love. Good thing my teacher realized before it was too late.
I lost myself in the story. It had something to say about not settling and asking more of yourself. Two fantastic performances from Miles Teller and J.K. Simmons. Perhaps it will push you to maybe pick up that guitar again, put on your ballet shoes, or hit the gym to bulk up. Whiplash is an incredibly powerful film. And after the final shot cuts to black, the film will stick with you for days.
My expectations: Medium. I did not expect the film to be so powerful for me. Expectations exceeded.
Recommendation: Cinema lovers and casual movie goers, I believe will enjoy this film.
Re-watch value: I can watch this film again and I actually can't wait until it hits distribution.
Memorable: I am still thinking about this film.
Ever had a dream of being a great football player? A great dancer? A great singer? A great musician? Our protagonist has a dream of being a great drummer, a drummer that will be remembered forever. Maybe you are still fighting for your dream. Maybe you have given up on greatness. Greatness doesn't come easily, you need to practice at it. Andrew practices until his hands bleed.
Andrew (Miles Teller) is 19-year old student at a music conservatory in Manhattan. Terrence Fletcher (J.K. Simmons) is a teacher at the conservatory with a ruthlessly brutal teaching style. After picking Andrew to play in the school band, he pushes Andrew to his limits in order to realize his full potential, at the risk of his humanity.
I had a billiards teacher at one point in my life, who was close to becoming a pro in his craft but a grease fire accident changed all that. His perspective changed, to paraphrase, he realized he was becoming an asshole. He became a teacher of pool instead of becoming a pro player. Through him, I can understand what Terrence Fletcher was trying to instill into Andrew. My teacher would push me a little bit. When he gave me opportunities to show him up, "run the table now," he would tell me, I failed. It's embarrassing when that happens but it's also a learning tool because more work needs to be done. You can't get by on talent alone but it certainly helps. On the other side of it, I saw a little bit of my teacher in Andrew. Losing who you are to perfect something you love. Good thing my teacher realized before it was too late.
I lost myself in the story. It had something to say about not settling and asking more of yourself. Two fantastic performances from Miles Teller and J.K. Simmons. Perhaps it will push you to maybe pick up that guitar again, put on your ballet shoes, or hit the gym to bulk up. Whiplash is an incredibly powerful film. And after the final shot cuts to black, the film will stick with you for days.
My expectations: Medium. I did not expect the film to be so powerful for me. Expectations exceeded.
Recommendation: Cinema lovers and casual movie goers, I believe will enjoy this film.
Re-watch value: I can watch this film again and I actually can't wait until it hits distribution.
Memorable: I am still thinking about this film.
This is review #572....so is there really any need to say more?!
planktonrules18 July 2015
"Whiplash" is a terrific film...no doubt about that. Normally, I'd spend several paragraphs talking about how great it is except that I am the 572nd review and many people have already gone on and on about what a terrific film it is....so what can I add?! It's the 40th highest rated film on IMDb after all!
J.K. Simmons clearly deserved the Oscar for Best Supporting Actor because although he was no the star of the film, he dominated every moment he was on the screen. Was he a likable guy? No way..but he was mesmerizing. Kudos also for the young actor in the lead and everyone else with this film. It's among the best films of the year and one that impressed me so much because it did not have a complicated script of mega-million dollar special effects--it just had terrific acting, writing and direction. See this film and see how a quality film is crafted. 'Nuff said...
J.K. Simmons clearly deserved the Oscar for Best Supporting Actor because although he was no the star of the film, he dominated every moment he was on the screen. Was he a likable guy? No way..but he was mesmerizing. Kudos also for the young actor in the lead and everyone else with this film. It's among the best films of the year and one that impressed me so much because it did not have a complicated script of mega-million dollar special effects--it just had terrific acting, writing and direction. See this film and see how a quality film is crafted. 'Nuff said...
"I'm exhausted!"
troy-daniel-bush21 August 2022
I felt like I had a workout after watching this. Something that I think everyone thought after watching it.
It's intense. You'll tap your foot. You'll be happy and sad for Andrew. And when he's not making you laugh you'll be scared of Fletcher. And you'll never feel the runtime.
J. K. Simmons is one of my favorite actors. Whenever someone asks me why I tell them, "Watch Spider-Man. Then, watch Whiplash."
It's intense. You'll tap your foot. You'll be happy and sad for Andrew. And when he's not making you laugh you'll be scared of Fletcher. And you'll never feel the runtime.
J. K. Simmons is one of my favorite actors. Whenever someone asks me why I tell them, "Watch Spider-Man. Then, watch Whiplash."
An important hardened lesson in resilience and when to stop measuring up to your mentor. Whiplash is a captivating study of ambition.
Sergeant_Tibbs23 October 2014
Taking the festival circuit by storm since its Sundance premiere in January, Whiplash is starting to feel like the underdog that could go far with its crowd-pleasing intensity. On the surface, it's a gritty story about a brutal student-mentor relationship that oversteps boundaries. Underneath, it's a piercing examination of the psyche of unbridled ambition. Whiplash is a film that stops at nothing. As a result, it's the best film I've seen in years, and I say that without hesitation. This is a film that resonates on every single level and every moment counts. If writer/director Damien Chazelle was striving for greatness as much as his protagonist, then he has achieved it.
Miles Teller, who's been steadily growing on me since The Spectacular Now, stars as Andrew Neyman, a 19-year-old aspiring jazz drummer who's pushed and inspired by the abuse and aspirations of his school band leader Fletcher, played by the ferocious J.K. Simmons like we've never seen him before. Chazelle has described the film as an origin story to the jazz musicians of the golden age, and it thrives on the myths of jazz heroes such as Charlie Parker. They're urgently looking for the next Parker, in search of perfection. But with that comes a great irony. The music genre is known as one for freedom of expression but here the jazz is soulless and mechanical, and that clouds the ethical judgment of the characters. Even so, Fletcher is a man who can tell if you have the right tempo within a bar. Although most of the audience for the film may not know much about music including myself, you get a feel for what he's looking for and when someone's wrong even if you don't know why. Simmons is as good as they say he is. He's a force of nature, with a terrifying presence that incites the fear Bryan Cranston achieved with the peak of his Walter White. But it's not a one-note performance. Simmons is still subversive with moments of weakness, insecurity, approachability, and he also sometimes brings in the lightness he's known for in other roles with Jason Reitman, exec producer here.
Even though he's an unlikeable character with nothing nice to say, he's still somewhat endearing and enigmatic, much like R. Lee Ermey's drill sergeant in Full Metal Jacket. This demasculinisation through a barrage of insults is a theme explored in Whiplash and it argues whether it's a crime or an 'ends justifying the means' factor of life. It's not just a music film, but also one that adapts to the elements of sports training, war at boot camp and biopic genres with the way it frames its elements. Fletcher is representative of the devil on our shoulders that yells at us that we're not good enough and that symbolic idea resonates deeply for me. His poisonous words are more a part of Andrew's psyche than legitimate coaching techniques. What grabs me about the film is its discussion on artistic perfection, and especially in these intimate and rough sequences of practicing. What is objectively great in art? When is it good enough, and why? It toes a fascinating line. That's why drumming is such an interesting choice for the film to explore because it's so instinctive. Drummers have to make decisions within a fraction of a second and talent can only take you so far. The roaring beat in Whiplash puts your heart in your throat. Teller's performance as Andrew is terrific, one to match Simmons.
Chazelle is committed on expressing the physicality of drumming and Teller captures it exhaustively without feeling contrived. It's the virtuosity of the writing that allows us into Andrew's head however. It's a long road to the top, but the script makes the right decision to allow him to revel in the little moments of success, but then to immediately test him in surprising and involving ways. Each turn of the story shapes his expectations and ambitions and then escalates it to the right point. While the film is a gripping experience nonetheless, in retrospect perhaps it is too bitingly cynical. It does suggest that you have to be deprived of a meaningful relationship to achieve your goals. It does appear to be very anti-positive reinforcement, but perhaps it's merely a statement on the abundant sheltering that the latest generation is enduring. Whiplash is refreshing to see, we all know we wouldn't be resilient enough to take that kind of punishment so it's cathartic to watch Andrew go through it all and see how far he'll go. His frustration, regrets, fear and rage with himself cuts to the core of the human condition as he's pushed further and further.
The technical aspects of the film help it become so stimulating with dizzying closeups tightly edited together and its the stark orange tinted cinematography. It's thoroughly impressive that the film was shot in only 19 days for them to get shots so immaculately timed and performed with all those complicated movements. There's a refreshing brevity to the film with its sharp atmosphere, but it's so rich in emotion, psychological tension and personal subtext. It neither rushes nor drags, on paper nor on screen. It really is a film that lingers in your mind for days, nagging you, like Fletcher over your shoulder. Maybe it'll continue to linger for weeks. I hope so too, especially for Oscar voters. It seems that J.K. Simmons is building momentum to be a lock for Best Supporting Actor at this point. However, Whiplash isn't just a best of year film, nor best of decade. It approaches best of all-time worthy with its identifiable themes of meticulous work ethics, fulfilling aspirations, resilience of the soul, and knowing when to no longer measure yourself to your mentor. I'll take this film with me for a while as a screaming motivator.
10/10. Best film of the decade.
Read more @ The Awards Circuit (http://www.awardscircuit.com/)
Miles Teller, who's been steadily growing on me since The Spectacular Now, stars as Andrew Neyman, a 19-year-old aspiring jazz drummer who's pushed and inspired by the abuse and aspirations of his school band leader Fletcher, played by the ferocious J.K. Simmons like we've never seen him before. Chazelle has described the film as an origin story to the jazz musicians of the golden age, and it thrives on the myths of jazz heroes such as Charlie Parker. They're urgently looking for the next Parker, in search of perfection. But with that comes a great irony. The music genre is known as one for freedom of expression but here the jazz is soulless and mechanical, and that clouds the ethical judgment of the characters. Even so, Fletcher is a man who can tell if you have the right tempo within a bar. Although most of the audience for the film may not know much about music including myself, you get a feel for what he's looking for and when someone's wrong even if you don't know why. Simmons is as good as they say he is. He's a force of nature, with a terrifying presence that incites the fear Bryan Cranston achieved with the peak of his Walter White. But it's not a one-note performance. Simmons is still subversive with moments of weakness, insecurity, approachability, and he also sometimes brings in the lightness he's known for in other roles with Jason Reitman, exec producer here.
Even though he's an unlikeable character with nothing nice to say, he's still somewhat endearing and enigmatic, much like R. Lee Ermey's drill sergeant in Full Metal Jacket. This demasculinisation through a barrage of insults is a theme explored in Whiplash and it argues whether it's a crime or an 'ends justifying the means' factor of life. It's not just a music film, but also one that adapts to the elements of sports training, war at boot camp and biopic genres with the way it frames its elements. Fletcher is representative of the devil on our shoulders that yells at us that we're not good enough and that symbolic idea resonates deeply for me. His poisonous words are more a part of Andrew's psyche than legitimate coaching techniques. What grabs me about the film is its discussion on artistic perfection, and especially in these intimate and rough sequences of practicing. What is objectively great in art? When is it good enough, and why? It toes a fascinating line. That's why drumming is such an interesting choice for the film to explore because it's so instinctive. Drummers have to make decisions within a fraction of a second and talent can only take you so far. The roaring beat in Whiplash puts your heart in your throat. Teller's performance as Andrew is terrific, one to match Simmons.
Chazelle is committed on expressing the physicality of drumming and Teller captures it exhaustively without feeling contrived. It's the virtuosity of the writing that allows us into Andrew's head however. It's a long road to the top, but the script makes the right decision to allow him to revel in the little moments of success, but then to immediately test him in surprising and involving ways. Each turn of the story shapes his expectations and ambitions and then escalates it to the right point. While the film is a gripping experience nonetheless, in retrospect perhaps it is too bitingly cynical. It does suggest that you have to be deprived of a meaningful relationship to achieve your goals. It does appear to be very anti-positive reinforcement, but perhaps it's merely a statement on the abundant sheltering that the latest generation is enduring. Whiplash is refreshing to see, we all know we wouldn't be resilient enough to take that kind of punishment so it's cathartic to watch Andrew go through it all and see how far he'll go. His frustration, regrets, fear and rage with himself cuts to the core of the human condition as he's pushed further and further.
The technical aspects of the film help it become so stimulating with dizzying closeups tightly edited together and its the stark orange tinted cinematography. It's thoroughly impressive that the film was shot in only 19 days for them to get shots so immaculately timed and performed with all those complicated movements. There's a refreshing brevity to the film with its sharp atmosphere, but it's so rich in emotion, psychological tension and personal subtext. It neither rushes nor drags, on paper nor on screen. It really is a film that lingers in your mind for days, nagging you, like Fletcher over your shoulder. Maybe it'll continue to linger for weeks. I hope so too, especially for Oscar voters. It seems that J.K. Simmons is building momentum to be a lock for Best Supporting Actor at this point. However, Whiplash isn't just a best of year film, nor best of decade. It approaches best of all-time worthy with its identifiable themes of meticulous work ethics, fulfilling aspirations, resilience of the soul, and knowing when to no longer measure yourself to your mentor. I'll take this film with me for a while as a screaming motivator.
10/10. Best film of the decade.
Read more @ The Awards Circuit (http://www.awardscircuit.com/)
Intense
bbickley13-921-5866422 October 2014
This movie was far better than the trailer made it look.
JK Simmons gave a stellar performance as a music teacher in the best Jazz school, trying desperately to find and develop the next jazz legend. From the moment he appears he demands the screen, literately. There's a part in the flick were he just burst open the door putting a halt on whatever is going, and makes it all about what he wants, which sets the tone for the entire movie. One of the best antagonist I've seen at the movies.
Miles Teller plays the protagonist, A first year Jazz student who wants to be the next Jazz legend and is willing to go through the pain needed to become just that. I've been a fan of Miles Teller for a while and this movie just increase my fandom
It does not matter whether you are into jazz or not, this flick is about and boy willing to kill himself to become the best and the man willing to kill the boy so he can be the best. For anyone who has ever been in that kind of pressure, weather it be at college or on the playing field(I kid you not, watching these guys play Jazz played out like I was watching a Football movie with Miles being the Quarterback and JK being the coach)
It was an emotion trill ride with a lot of ups and downs, and just when you think the ride is over, we go for a second time around.
Excellence!!
JK Simmons gave a stellar performance as a music teacher in the best Jazz school, trying desperately to find and develop the next jazz legend. From the moment he appears he demands the screen, literately. There's a part in the flick were he just burst open the door putting a halt on whatever is going, and makes it all about what he wants, which sets the tone for the entire movie. One of the best antagonist I've seen at the movies.
Miles Teller plays the protagonist, A first year Jazz student who wants to be the next Jazz legend and is willing to go through the pain needed to become just that. I've been a fan of Miles Teller for a while and this movie just increase my fandom
It does not matter whether you are into jazz or not, this flick is about and boy willing to kill himself to become the best and the man willing to kill the boy so he can be the best. For anyone who has ever been in that kind of pressure, weather it be at college or on the playing field(I kid you not, watching these guys play Jazz played out like I was watching a Football movie with Miles being the Quarterback and JK being the coach)
It was an emotion trill ride with a lot of ups and downs, and just when you think the ride is over, we go for a second time around.
Excellence!!
Tension, tension, tension!
drakula200528 October 2014
After seeing Damien Chazelle's Whiplash - a film the young up-and- coming director wished to do for some time now - being so beautifully realized and brought to life by everyone involved in the project, I was glad and relieved, mainly because I have seen the short film, which was pretty incredible.
I believe that among the most telling facts about a film's fortunes and qualities, is the ability to broaden it's public, but in the same time not forgetting that cinema is not all about commercial success and mass audiences.Or with other words - a film that is not just eye candy and booms and explosions, but also craft, soul, dedication and wits.
Those are some of the things not only the film itself possesses, but the people behind it have in abundance as well.
The upcoming Miles Teller plays the young and dedicated student Andrew Nieman, who has the drive, the ambition to succeed and to be great, which is fine, as long as it doesn't derail your personal life.A lesson the young drummer learns the hard way.
Blind ambition is the thing, that can describe our anti-hero of sorts, Terrence Fletcher a.k.a the brilliant J.K. Simmons, who has a thing for mindeffin' his students to the point of total physical and mental exhaustion and even depression.But he does it for a reason, for the sole purpose of finding the next big, even great, thing in jazz and in music as a whole.The next prodigy, the next "Yardbird" Charlie Parker that will be otherwise lost, if not being pushed to the very limit.
And boy, does J.K. Simmons nails it.Chazelle has done a masterful job in casting the two leads in Teller and Simmons.Their respective acts are full of purpose, full of tension and ultimately terrific.
Expect some awards going in the way of "Whiplash" and look out for Simmons in the Oscars shortlist, that's how good he is in it.And in his own words: "What a shame we wrapped it up in only 19 days".It must have been really fun playing a part like Terrence Fletcher and Simmons completely sold it.
As I said, the best movies are those, that reach out to the most diverse and wide spectrum of audiences, not those, who can connect to a massive number of people, who are representatives of only one specific audience type.And Chazelle has achieved just that with "Whiplash" - a precise, tension-building film, full of beautifully staged pieces and above all else, a love towards music and the challenges it often represents if you want to get to the very top.
The film ended in a big round of applause from the packed theater and I am sure that will be the case a long time from now!
My grade: 9/10
I believe that among the most telling facts about a film's fortunes and qualities, is the ability to broaden it's public, but in the same time not forgetting that cinema is not all about commercial success and mass audiences.Or with other words - a film that is not just eye candy and booms and explosions, but also craft, soul, dedication and wits.
Those are some of the things not only the film itself possesses, but the people behind it have in abundance as well.
The upcoming Miles Teller plays the young and dedicated student Andrew Nieman, who has the drive, the ambition to succeed and to be great, which is fine, as long as it doesn't derail your personal life.A lesson the young drummer learns the hard way.
Blind ambition is the thing, that can describe our anti-hero of sorts, Terrence Fletcher a.k.a the brilliant J.K. Simmons, who has a thing for mindeffin' his students to the point of total physical and mental exhaustion and even depression.But he does it for a reason, for the sole purpose of finding the next big, even great, thing in jazz and in music as a whole.The next prodigy, the next "Yardbird" Charlie Parker that will be otherwise lost, if not being pushed to the very limit.
And boy, does J.K. Simmons nails it.Chazelle has done a masterful job in casting the two leads in Teller and Simmons.Their respective acts are full of purpose, full of tension and ultimately terrific.
Expect some awards going in the way of "Whiplash" and look out for Simmons in the Oscars shortlist, that's how good he is in it.And in his own words: "What a shame we wrapped it up in only 19 days".It must have been really fun playing a part like Terrence Fletcher and Simmons completely sold it.
As I said, the best movies are those, that reach out to the most diverse and wide spectrum of audiences, not those, who can connect to a massive number of people, who are representatives of only one specific audience type.And Chazelle has achieved just that with "Whiplash" - a precise, tension-building film, full of beautifully staged pieces and above all else, a love towards music and the challenges it often represents if you want to get to the very top.
The film ended in a big round of applause from the packed theater and I am sure that will be the case a long time from now!
My grade: 9/10
Just My Tempo
ferguson-626 October 2014
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".
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".
A masterful tale of inspiration, set against a world of obsession, dedication and confrontation
CalRhys31 January 2015
Warning: Spoilers
An unknown title, by an unknown director, starring an unknown lead, what does that form? Only one of the best damn dramas of this century to date. Inspiring, intense, reverent, Damien Chazelle's jazz-infused drama is an incredibly complex character study that has newcomer Miles Teller and veteran J.K. Simmons at the top of their game in this brilliant effort, 'Whiplash' is arguably the most riveting and sensational drama from 2014.
J.K. Simmons stars as antihero Terence Fletcher, a character we look at as the opportunity of Andrew's success, but also we hate for his brutal portrayal. From his profanity-clad embodiment of evil to the ever-hopeful light at the end of the film, we go through stages of loving, hating and even fearing him, a character who despite his occasional moments of sympathy, cares solely about the outcome of his orchestra, and shuns away anyone who tries to destroy that. Simmons's performance is flawless and breathless, a truly resonant achievement, and one of the most Oscar-deserving performances of recent years.
The gold and black colour palette, fast-paced editing, fluent and claustrophobic cinematography - every single component adds a fresh face to 21st century cinema and independent films as a whole, further supporting my conclusion that indie films have overtaken blockbusters for the provision of unique visions and entertainment. Chazelle's effort pays off as he creates not only one of the greatest villains of the 21st century in the form of Fletcher, but also one of the greatest movies of the 21st century, if not of all time, through which he rekindled the dying flame that is jazz.
The fusion of emotions throughout make this a film that thrusts the audience into a world of obsession, dedication and confrontation, thus ensuing a tale of inspiration, a man and his dreams of becoming a "somebody", and to conclude, let's just note that final drum solo and sense of rebellion Andrew feels, it is utter gold, truly perfect. This movie is powerful, it is intense, it is unique, it is a stunning masterpiece!
J.K. Simmons stars as antihero Terence Fletcher, a character we look at as the opportunity of Andrew's success, but also we hate for his brutal portrayal. From his profanity-clad embodiment of evil to the ever-hopeful light at the end of the film, we go through stages of loving, hating and even fearing him, a character who despite his occasional moments of sympathy, cares solely about the outcome of his orchestra, and shuns away anyone who tries to destroy that. Simmons's performance is flawless and breathless, a truly resonant achievement, and one of the most Oscar-deserving performances of recent years.
The gold and black colour palette, fast-paced editing, fluent and claustrophobic cinematography - every single component adds a fresh face to 21st century cinema and independent films as a whole, further supporting my conclusion that indie films have overtaken blockbusters for the provision of unique visions and entertainment. Chazelle's effort pays off as he creates not only one of the greatest villains of the 21st century in the form of Fletcher, but also one of the greatest movies of the 21st century, if not of all time, through which he rekindled the dying flame that is jazz.
The fusion of emotions throughout make this a film that thrusts the audience into a world of obsession, dedication and confrontation, thus ensuing a tale of inspiration, a man and his dreams of becoming a "somebody", and to conclude, let's just note that final drum solo and sense of rebellion Andrew feels, it is utter gold, truly perfect. This movie is powerful, it is intense, it is unique, it is a stunning masterpiece!
Wow just wow. Easily one of the greatest films of the year
WalterSoprano6 January 2015
There is so many excellent great things to say about this film. To start off I will say it may be slow and to different for some to enjoy and so that I warn you. Now I will say that I can not express the idea enough of how surprising this film is. Jk Simmons does an outstanding performance as the highly unpredictable hair trigger tempered teacher Fletcher, Miles Teller an actor who I've only seen in mediocre comedies also shines in a breakthrough performance as the ambitious drummer Andrew. The performance are outstanding and that's just the tip of the iceberg.
My favorite thing about this film is how it has created it's own one of a kind spot in the music genre of film, it's atmosphere is unlike any other as well. The idea that this film is one of a kind can't be stressed enough, I guarantee you cannot find another film out there like this. This film expresses a shockingly high intensity for a music film. I believe that Jk Simmons acting is what fueled a lot of the intensity. When you watch this film even though it's pace will seem slow to most it's intensity is impossible to miss.
I can see how a lot of certain people may find this film hard to enjoy but for me this film as slow as it is couldn't have been more intense. The mere fact that a music film shows some strong intensity like this one did is mind blowing to me. I don't know how many of you had this same experience or something similar then you already know what I'm talking about. I have a good feeling and I'm hopeful this film rakes in some acting Oscars because this film deserves at least one. I haven't read anything on this films page and I'm sure others have expressed similar opinions and all I can say is listen and trust me. I'm praying you enjoy this film and experience it's one of a kind intensity just as I did. Thanks for reading my review and enjoy.
My favorite thing about this film is how it has created it's own one of a kind spot in the music genre of film, it's atmosphere is unlike any other as well. The idea that this film is one of a kind can't be stressed enough, I guarantee you cannot find another film out there like this. This film expresses a shockingly high intensity for a music film. I believe that Jk Simmons acting is what fueled a lot of the intensity. When you watch this film even though it's pace will seem slow to most it's intensity is impossible to miss.
I can see how a lot of certain people may find this film hard to enjoy but for me this film as slow as it is couldn't have been more intense. The mere fact that a music film shows some strong intensity like this one did is mind blowing to me. I don't know how many of you had this same experience or something similar then you already know what I'm talking about. I have a good feeling and I'm hopeful this film rakes in some acting Oscars because this film deserves at least one. I haven't read anything on this films page and I'm sure others have expressed similar opinions and all I can say is listen and trust me. I'm praying you enjoy this film and experience it's one of a kind intensity just as I did. Thanks for reading my review and enjoy.
A Psychological Horror Story
proud_luddite16 February 2019
In New York, a young jazz drummer (Miles Teller) is enrolled in a prestigious music school. His ambitions are tested and manipulated by a sadistic, perfectionist music instructor (J.K. Simmons).
There are occasional moments in the film that seem far-fetched and over-the-top. But these are forgiven due to the edgy execution by director-writer Damien Chazelle and the acting.
Teller is very believable as someone whose obsession to succeed overrides his sense of safety. This is partly explained in a useful scene at the beginning of an extended family gathering where one-upmanship seemed to be the traditional form of communicating.
However, the movie belongs to Simmons who is the epitome of the authority-from-hell. He has rightly won many awards for this performance and he is likely to win more. He is so frightening when he is dominating the students that, even in the audience, there is a sigh of relief felt when he is acting more at-ease and human. His presence is that strong.
"Whiplash" ably presents the question of whether attaining genius is worth the price - at least in certain circumstances. It also succeeds as a psychological horror movie. The Simmons character is likely to be mentioned in the future as one of the movies' most memorable villains. - dbamateurcritic
There are occasional moments in the film that seem far-fetched and over-the-top. But these are forgiven due to the edgy execution by director-writer Damien Chazelle and the acting.
Teller is very believable as someone whose obsession to succeed overrides his sense of safety. This is partly explained in a useful scene at the beginning of an extended family gathering where one-upmanship seemed to be the traditional form of communicating.
However, the movie belongs to Simmons who is the epitome of the authority-from-hell. He has rightly won many awards for this performance and he is likely to win more. He is so frightening when he is dominating the students that, even in the audience, there is a sigh of relief felt when he is acting more at-ease and human. His presence is that strong.
"Whiplash" ably presents the question of whether attaining genius is worth the price - at least in certain circumstances. It also succeeds as a psychological horror movie. The Simmons character is likely to be mentioned in the future as one of the movies' most memorable villains. - dbamateurcritic
Extremely powerful but too intense
technicallytyguy30 March 2021
Warning: Spoilers
I really do love this movie. It is powerful in the main character's overwhelming passion and drive to become the greatest drummer to ever live. I really do have an issue with the message though. The extreme levels of intensity that the music instructor Fletcher uses really does more harm than good for Andrew. He breaks up with his girlfriend, almost dies in a car accident, and gets obsessed in his single minded pursuit of perfection. It is an extremely interesting character portrait, but I don't think that it brings along a necessarily good message, but it is definitely a powerful one. It does bring along an extremely important psychological question: should you let your passion drive you to the brink of insanity in order to achieve your goals?
Intense movie, phenomenal J.K. Simmons but unrealistic
vithiet10 February 2019
This movie should please a wide audience of non-musicians. I am not a musician but I've seen movies based on things I know very well and it's always exaggerated and unrealistic and it usually bugs me more than other people; I can easily imagine how real musicians may dislike this one.
The directing and acting are great (although J.K. Simmons steals the whole show) as are cinematography and sound. However the whole premise is wildly unrealistic, and the moral of the story "to be great you need to be pushed beyond your limits" is a tired trope that has often been done in a better way than here.
On a personal note, I hate bullies with a passion and there can never be a "but it's for a good reason" excuse for bullying.
Pay no attention to this review, because almost everybody loves this movie.
emmecinque4 November 2014
Warning: Spoilers
The good parts:
The movie is very sensitively filmed. The camera relentlessly explores every bump on Teller's and Simmons's heads like a documentary about Greek sculpture. It adds a lot to the feel of the movie in a wonderfully subtle way.
Simmons and Teller (as the "Studio" band director and the, I guess, protagonist young drummer) do a great job. Simmons in particular is really the nexus of energy for the entire movie, and owns that role with absolute precision.
The music, when it's actually music, is well-chosen and well-performed.
The terrible parts:
Simmons ("Fletcher") and Teller ("Andrew") are essentially the only characters in the film. Andrew's dad and his not-really girlfriend are secondary characters that serve to remind the audience what actual humans are like. Andrew is an insufferable jerk, and Teller does an amazing job of maintaining (mostly) a stone-faced, blankly insensitive look throughout almost every tense moment of the film. Simmons's Fletcher is a superb sadistic maniac. He's not "intense" or "volatile" - he's a psychotic monster.
I'm debilitated as a reviewer because my son is a talented young drummer, so I get to see good drumming all the time. The persistent trope in the film of Andrew drumming until his hands bleed is wildly unrealistic; that basically cannot happen if you're a drummer good enough to get into a prestigious music school in the first place. Everything else about Andrew at the fancy school, upon further examination, is completely unreal. He basically never talks to the other complete non-entities in the band. They're all like POWs, obeying the maniac director unflinchingly (except when they fail, when they're abused and ejected). My son (whose judgment I trust because he's also obsessed, but not a jerk) described the silly drum "competition" as "three people who can't drum doing shitty grind-core break beats". (To be fair, he liked the movie. What can you do.)
So OK, the movie is an allegory, and not intended to be realistic. So it's an allegory about how a sadist can really help a self-absorbed jerk with some obsession get better at what they want to do? I can't find any way to sympathize with that. I mean, who is that speaking to?
Finally, the actually appropriate and yet irritatingly obtrusive product placement (pristine cymbal labels, super-clean Zildjian logo on Andrew's stick bag, etc) got pretty hard to take by the (truly weird) ending.
Go see this movie because everybody else thinks it's great, but if you feel funny afterwards maybe this review will offer some comfort that you're not alone.
The movie is very sensitively filmed. The camera relentlessly explores every bump on Teller's and Simmons's heads like a documentary about Greek sculpture. It adds a lot to the feel of the movie in a wonderfully subtle way.
Simmons and Teller (as the "Studio" band director and the, I guess, protagonist young drummer) do a great job. Simmons in particular is really the nexus of energy for the entire movie, and owns that role with absolute precision.
The music, when it's actually music, is well-chosen and well-performed.
The terrible parts:
Simmons ("Fletcher") and Teller ("Andrew") are essentially the only characters in the film. Andrew's dad and his not-really girlfriend are secondary characters that serve to remind the audience what actual humans are like. Andrew is an insufferable jerk, and Teller does an amazing job of maintaining (mostly) a stone-faced, blankly insensitive look throughout almost every tense moment of the film. Simmons's Fletcher is a superb sadistic maniac. He's not "intense" or "volatile" - he's a psychotic monster.
I'm debilitated as a reviewer because my son is a talented young drummer, so I get to see good drumming all the time. The persistent trope in the film of Andrew drumming until his hands bleed is wildly unrealistic; that basically cannot happen if you're a drummer good enough to get into a prestigious music school in the first place. Everything else about Andrew at the fancy school, upon further examination, is completely unreal. He basically never talks to the other complete non-entities in the band. They're all like POWs, obeying the maniac director unflinchingly (except when they fail, when they're abused and ejected). My son (whose judgment I trust because he's also obsessed, but not a jerk) described the silly drum "competition" as "three people who can't drum doing shitty grind-core break beats". (To be fair, he liked the movie. What can you do.)
So OK, the movie is an allegory, and not intended to be realistic. So it's an allegory about how a sadist can really help a self-absorbed jerk with some obsession get better at what they want to do? I can't find any way to sympathize with that. I mean, who is that speaking to?
Finally, the actually appropriate and yet irritatingly obtrusive product placement (pristine cymbal labels, super-clean Zildjian logo on Andrew's stick bag, etc) got pretty hard to take by the (truly weird) ending.
Go see this movie because everybody else thinks it's great, but if you feel funny afterwards maybe this review will offer some comfort that you're not alone.
Sure to be one of the best films of the year
clambakejr27 October 2014
Whiplash is low budget film making at its finest, and surely promises big things from rookie director/writer Damien Chazelle. Seeing this film in theaters was the first time this year that I have completely enraptured (granted, I have not seen all of the top films that have come out so far). Also, I am a succor for quality films about musicians, and Whiplash ranks in my all time favorites in that genre. The tension did not let up from the very first scene, especially as soon as the incredible J.K. Simmons enters. Simmons, along with Miles Teller (who's Project X days are now long behind him) have some of the best on screen chemistry I've seen. They're connected; one cannot act without it affecting the other. The film is almost entirely focused on this relationship, and the simplicity definitely services the film. I hope people will go and see it and vote with their pocketbooks for excellent low budget films.
A strive for perfection.
Sleepin_Dragon6 January 2023
Music teacher Terrence Fletcher spots something in raw, but talented young drummer Andy Niemann, desperate to get to the top, Andy makes several sacrifices, to strive for greatness.
I can't always give one hundred percent attention to a film, sometimes my mind can wander, here though, I was glued for the full run time. This film is absolutely phenomenal, a relatively low budget movie, but one with an incredible story and some phenomenal acting.
How can a film be equal parts subtle and brash, I can't explain why or how, but this film has an incredibly rich content, there is so much going on beneath the surface.
The characters, incredibly rich, rounded and thoroughly believable, I must start by commenting on Fletcher, he's fascinating, irascible, angry, but deep, smart, demanding and passionate. JK Simmons won an Oscar for this performance, and deservedly so, he is breathtaking here, it is acting to savour.
The film is as much about Fletcher, as it is about Niemann, a total contrast, where Fletcher is hard, brash and tough, Niemann is a little naive, meak, cute, but loaded with talent, it's Fletcher's outrageous demand for perfection from him that's the key.
Damien Chazelle nailed it here, the script is pretty near perfect, Oscar nominated, it should have won it.
I am blown away by this incredible film, 10/10.
I can't always give one hundred percent attention to a film, sometimes my mind can wander, here though, I was glued for the full run time. This film is absolutely phenomenal, a relatively low budget movie, but one with an incredible story and some phenomenal acting.
How can a film be equal parts subtle and brash, I can't explain why or how, but this film has an incredibly rich content, there is so much going on beneath the surface.
The characters, incredibly rich, rounded and thoroughly believable, I must start by commenting on Fletcher, he's fascinating, irascible, angry, but deep, smart, demanding and passionate. JK Simmons won an Oscar for this performance, and deservedly so, he is breathtaking here, it is acting to savour.
The film is as much about Fletcher, as it is about Niemann, a total contrast, where Fletcher is hard, brash and tough, Niemann is a little naive, meak, cute, but loaded with talent, it's Fletcher's outrageous demand for perfection from him that's the key.
Damien Chazelle nailed it here, the script is pretty near perfect, Oscar nominated, it should have won it.
I am blown away by this incredible film, 10/10.
A dynamic movie full of tensions and twists
emilyeinbinder7 October 2014
"Music is your own experience, your own thoughts, your wisdom. If you don't live it, it won't come out of your horn. They teach you there's a boundary line to music. But, man, there's no boundary line to art."
Charlie Parker sums it all, Cinema is true Art. I wasn't expecting to feel this way after watching this movie. Every moment has tension and something unexpected occurring. It is as if the director had chosen to apply the tempo of the drums to the script. Anyone can relate to this story. We all have pursued a dream, a passion ... Rather or not we made it our everyday job or maybe just a hobby aside, some of us strive for something bigger.
This film is a journey in the search of your inner spirit, inner creativity ... not only will it make it clear that you cannot succeed without effort and hard work, it will also make you realize there are two different kinds of artists : - those who make art, - and those who make beautiful art
"Beautiful" because they are stimulated by a special strength within, a GIFT.
Is it because I reminisce N.Y.C. or that I play the drums? I simply believe the performances were astonishing and the actors perfectly chosen to embody these terrific characters. I won't say "good job" but rather "thank you", to the promising Franco-American director Damien Chazelle for sharing his vision.
Charlie Parker sums it all, Cinema is true Art. I wasn't expecting to feel this way after watching this movie. Every moment has tension and something unexpected occurring. It is as if the director had chosen to apply the tempo of the drums to the script. Anyone can relate to this story. We all have pursued a dream, a passion ... Rather or not we made it our everyday job or maybe just a hobby aside, some of us strive for something bigger.
This film is a journey in the search of your inner spirit, inner creativity ... not only will it make it clear that you cannot succeed without effort and hard work, it will also make you realize there are two different kinds of artists : - those who make art, - and those who make beautiful art
"Beautiful" because they are stimulated by a special strength within, a GIFT.
Is it because I reminisce N.Y.C. or that I play the drums? I simply believe the performances were astonishing and the actors perfectly chosen to embody these terrific characters. I won't say "good job" but rather "thank you", to the promising Franco-American director Damien Chazelle for sharing his vision.
Inspiration isn't the point, and you don't have to like jazz
Ducksnrabbits12 February 2024
What a good flick. No, it's not "inspirational" in the way the "meh" reviewers want it to be, and who are pissed off that it isn't. Inspiration isn't the point. If you're looking for a feel-good movie that encourages you to work hard and overcome odds to achieve some mainstream, reasonable, conventionally healthy dream that anyone else will care about, this isn't it. If you're looking for a movie about an inspiring role model teacher that others should mimic, go watch "Stand and Deliver" or something, not this.
This movie isn't telling us to go out and find our own inner Andrews. It fully acknowledges the absurd obscurity of the whole thing, and the fact that 99.9% of people in the world don't care about jazz, or about there being another jazz musician. It lets us work out for ourselves that this also isn't just a film about music, and, no matter what you do, or what you're good at, 99.9% of people in the world don't care about that thing, either. And, even if you work at something that people do care about, or that helps people directly, most of the time someone pretty good is right behind you, eager to take your spot if you step aside. There are some exceptions, but not many. You have to figure out what matters to you, what you're good at, and what feels worth doing to you, and that's all there is. Even if most people think other things are more worthwhile, like football or whatever, those are arbitrary judgments, and should only supersede your own interests if general opinion matters more to you than doing the thing you care about. This scenario is true for most people. You have to be pretty crazy to want to do something this hard, this competitive, to which the world is so indifferent. Andrew is this kind of crazy. You, unknown audience member, don't have to be, and probably shouldn't be. Unless you are, and then you know that already.
Also, the film's message is not, "Work hard and make sacrifices and you can become great at X." Nor is it "You have to suffer or tolerate abuse to become great at X." It's far more complicated and ambiguous than some kind of canned morality like that.
The point is more that there's no straight path to doing something so well you're able to innovate and blow people's minds. Hard work and practice are necessary, but they aren't enough. Sacrifice doesn't guarantee anything. A great teacher-hardass or otherwise-doesn't guarantee anything. You need most of these things, plus a bunch of other qualities, and experiences, and a ton of luck, and other undefinable things too. You need more, whatever that more is. Andrew's "more" involves suffering, macho revenge, ego-annihilation, and blood. But there's no formula. If a formula existed, more people would do it, and it wouldn't be crazy.
The movie isn't saying everyone needs Andrew's experiences to do what he does, but that they make him who he is in that moment at the end, and able to make his choices. He needs them. Other paths may vary.
"Is it worth it?" That's certainly a question the film wants us to think about. But the ending frames the question in terms of art, not success. It insists we consider whether that one moment of peak artistic creation (I don't know how musically accurate it is, and don't care, because it's how the story is told, and the storytelling is what matters to me) is worth all the misery and sacrifice and opportunity cost. For all we know, after this moment, Andrew spends the rest of his life scraping by working as a cashier, and he never makes much money or gets famous as a drummer. Maybe he gets hit by a bus the next day. At best, the prize for winning most pie-eating contests is more pie, and odds are that, no matter how good or genius he is, the only prize he'll get for playing the drums so well is more chances to play the drums. Is it all worth it for this one moment, where he takes a huge risk, and lets it all go, and finally gets in sync with his difficult teacher/conductor to produce an emergent phenomenon, greater than either of them can achieve on their own, and where they both yield? And also, not forgetting, that his dad's unconditional love and acceptance is the key that gives him the courage to go back on stage and fully realize himself?
Yeah, it's worth it, for Andrew, for the teacher, the dad, and for us, the audience, watching him. It's magic, real magic, sublime and transcendent, beyond all time and space. If you don't see that, well, you've got your answer too, loud and clear. If at any point in the movie, you want Andrew to give up and go to medical school, you're really not an artist. Lucky you.
Regardless, the movie isn't telling us what to do. We have to make our own choices, right or wrong, the way Andrew makes his. Personally, I'd prefer a gentler path to artistic breakthroughs, but Andrew's path is his path. What's worth doing? The answer is always subjective and arbitrary. The only guidepost is that, mostly, art is only worth doing if you love doing it, not for some external payoff. It's a spiritual path, one that turns away from the world and its priorities, one that sacrifices everything for glimpses of transcendence. It might begin ego-driven at first, like how Andrew wants to be the best and be remembered in the beginning, but alone, that's not enough. And anger and defiance might drive another leveling up. But to lift off the stage, and channel something otherworldly, you need more. Andrew finds his "more."
One last thing: this movie has a lot to say about how and why so many great artists suffer. There are a lot of chicken-and-egg questions raised here, and not a lot of answers. But, the answers in reality are complicated, and individual, and this film does an amazing job of raising the questions in ways that are relatable and provoke contemplation, without supplying pat answers. Somewhere in it is a deep undercurrent of humanity, and what makes our species so unique. It's not rational. Call it a Promethean instinct, maybe, to want to bring forth something new, some unseen pearl from the depths of self to give out to the world, even if the vultures come and get their revenge.
This movie isn't telling us to go out and find our own inner Andrews. It fully acknowledges the absurd obscurity of the whole thing, and the fact that 99.9% of people in the world don't care about jazz, or about there being another jazz musician. It lets us work out for ourselves that this also isn't just a film about music, and, no matter what you do, or what you're good at, 99.9% of people in the world don't care about that thing, either. And, even if you work at something that people do care about, or that helps people directly, most of the time someone pretty good is right behind you, eager to take your spot if you step aside. There are some exceptions, but not many. You have to figure out what matters to you, what you're good at, and what feels worth doing to you, and that's all there is. Even if most people think other things are more worthwhile, like football or whatever, those are arbitrary judgments, and should only supersede your own interests if general opinion matters more to you than doing the thing you care about. This scenario is true for most people. You have to be pretty crazy to want to do something this hard, this competitive, to which the world is so indifferent. Andrew is this kind of crazy. You, unknown audience member, don't have to be, and probably shouldn't be. Unless you are, and then you know that already.
Also, the film's message is not, "Work hard and make sacrifices and you can become great at X." Nor is it "You have to suffer or tolerate abuse to become great at X." It's far more complicated and ambiguous than some kind of canned morality like that.
The point is more that there's no straight path to doing something so well you're able to innovate and blow people's minds. Hard work and practice are necessary, but they aren't enough. Sacrifice doesn't guarantee anything. A great teacher-hardass or otherwise-doesn't guarantee anything. You need most of these things, plus a bunch of other qualities, and experiences, and a ton of luck, and other undefinable things too. You need more, whatever that more is. Andrew's "more" involves suffering, macho revenge, ego-annihilation, and blood. But there's no formula. If a formula existed, more people would do it, and it wouldn't be crazy.
The movie isn't saying everyone needs Andrew's experiences to do what he does, but that they make him who he is in that moment at the end, and able to make his choices. He needs them. Other paths may vary.
"Is it worth it?" That's certainly a question the film wants us to think about. But the ending frames the question in terms of art, not success. It insists we consider whether that one moment of peak artistic creation (I don't know how musically accurate it is, and don't care, because it's how the story is told, and the storytelling is what matters to me) is worth all the misery and sacrifice and opportunity cost. For all we know, after this moment, Andrew spends the rest of his life scraping by working as a cashier, and he never makes much money or gets famous as a drummer. Maybe he gets hit by a bus the next day. At best, the prize for winning most pie-eating contests is more pie, and odds are that, no matter how good or genius he is, the only prize he'll get for playing the drums so well is more chances to play the drums. Is it all worth it for this one moment, where he takes a huge risk, and lets it all go, and finally gets in sync with his difficult teacher/conductor to produce an emergent phenomenon, greater than either of them can achieve on their own, and where they both yield? And also, not forgetting, that his dad's unconditional love and acceptance is the key that gives him the courage to go back on stage and fully realize himself?
Yeah, it's worth it, for Andrew, for the teacher, the dad, and for us, the audience, watching him. It's magic, real magic, sublime and transcendent, beyond all time and space. If you don't see that, well, you've got your answer too, loud and clear. If at any point in the movie, you want Andrew to give up and go to medical school, you're really not an artist. Lucky you.
Regardless, the movie isn't telling us what to do. We have to make our own choices, right or wrong, the way Andrew makes his. Personally, I'd prefer a gentler path to artistic breakthroughs, but Andrew's path is his path. What's worth doing? The answer is always subjective and arbitrary. The only guidepost is that, mostly, art is only worth doing if you love doing it, not for some external payoff. It's a spiritual path, one that turns away from the world and its priorities, one that sacrifices everything for glimpses of transcendence. It might begin ego-driven at first, like how Andrew wants to be the best and be remembered in the beginning, but alone, that's not enough. And anger and defiance might drive another leveling up. But to lift off the stage, and channel something otherworldly, you need more. Andrew finds his "more."
One last thing: this movie has a lot to say about how and why so many great artists suffer. There are a lot of chicken-and-egg questions raised here, and not a lot of answers. But, the answers in reality are complicated, and individual, and this film does an amazing job of raising the questions in ways that are relatable and provoke contemplation, without supplying pat answers. Somewhere in it is a deep undercurrent of humanity, and what makes our species so unique. It's not rational. Call it a Promethean instinct, maybe, to want to bring forth something new, some unseen pearl from the depths of self to give out to the world, even if the vultures come and get their revenge.
A pair of outstanding performances by Miles Teller and J.K. Simmons embody Damien Chazelle's piece of perfection...
ClaytonDavis27 September 2014
When it comes to cinema, there are often little gems in a sea of bigger spectacles, that can break through in the most proficient way. Last year, I pleaded to the entire film universe that discover and understand "Inside Llewyn Davis" from the Coen Brothers after seeing it for the first time at NYFF. This year, I've seem to already come to terms that the next film that will utilize all my energy and resources this year will be Damien Chazelle's highly intense psychological drama "Whiplash." An impeccable and tightly wound experience that brings your anxiety to a feverish level. As small, and utterly different as I'm about to compare, I haven't felt this uneasy with a film's tension since Paul Greengrass' "Captain Phillips," coincidentally also was a NYFF title. Two other similar traits that embody the two are the intense and completely submersible performances that inhabit them. Stars Miles Teller and J.K. Simmons are absolutely astonishing, featuring two of the year's very best turns.
Chazelle's film tells the story of Andrew (Teller), a first year music student that seeks out and joins the prestigious school band, headed by an intense and frightening teacher Mr. Fletcher (Simmons).
Walking out of the screening I fully knew (though I fully hope to be proved wrong this year) that Miles Teller would be my "Oscar Isaac" this year. A performance that should shoot to the top of any awards consideration for a lead actor, but unfortunately will be passed over show after show. Teller is submerged in a way that we haven't seen the young actor achieve at this stage in his career. After plowing onto the scene opposite Nicole Kidman in "Rabbit Hole," and then helming "The Spectacular Now" with complete ease and intensity, I was not expecting him to be the machine of fury and magnitude that is on display in "Whiplash." There are moments where he channels the emotional aura of performances like Tom Hulce/F. Murray Abraham in "Amadeus," as crazy as that sounds. I am so excited to see where Teller goes from here. It makes the future of film a lot more bright, knowing that someone like him will be rising up in the ranks.
Everything you've heard about J.K. Simmons is true and then some. A fully fleshed out supporting role, Chazelle doesn't write Fletcher as a caricature. He's a deeply acute individual, full of passion and acrimony. Chazelle doesn't keep Simmons at a "10," he and Simmons allow him to find a range of empathy, hatred, and cryptic allowances that will keep you at the edge of your seat. As I watched Simmons flesh out a performance that can only be described as magnificent, I kept coming back in my mind to Christoph Waltz in the Oscar-winning "Inglourious Basterds," a role that found much heat on the awards circuit. The world/all film lovers will not be able ignore the stunning presence of Simmons. A Supporting Actor nominations (maybe even a win) seems all but assured (and deserved). Looking back at the veteran actor's career that included memorable roles in "Juno," "Burn After Reading," and "Up in the Air," a role like this could not have come at a better time. Already impressive in his brief work in Jason Reitman's "Men, Women & Children," writers, directors, casting agents, and producers will be pounding on the actor's door.
You can't credit "Whiplash" without citing the words and control by writer/director Damien Chazelle. An amazing and outstanding sophomore effort (unfortunately have not seen his debut "Guy and Madeline on a Park Bench") that channels a young Bennett Miller. Vigorous, self-assured, and innovative, Chazelle is a brilliant auteur filmmaker that knows exactly what type of films he wants to make. He takes inspiration from his own life, his love of film and music, and other places I'm sure we don't know about, and molds them into a gritty, layered experience, conditioned with rich characters, all realized through the writer's story. It's one of the best scripts of the year.
"Whiplash" features some of the best minutes of film seen in 2014. An ending that will bring tears to your eyes, dual performances that will have you applaud, and an experience that you surely will not forget. Drumming has never felt like such a personality. It acts as a visible tool for the viewer to understand and try. If you love music, appreciate education, and dare to be better than your current state, you will find something very real to latch onto. Hold on, and hold on tight.
"Whiplash" is being distributed by Sony Pictures Classics and will be released October 10 in limited release (and then expanding after). A must-see for all movie lovers!
Chazelle's film tells the story of Andrew (Teller), a first year music student that seeks out and joins the prestigious school band, headed by an intense and frightening teacher Mr. Fletcher (Simmons).
Walking out of the screening I fully knew (though I fully hope to be proved wrong this year) that Miles Teller would be my "Oscar Isaac" this year. A performance that should shoot to the top of any awards consideration for a lead actor, but unfortunately will be passed over show after show. Teller is submerged in a way that we haven't seen the young actor achieve at this stage in his career. After plowing onto the scene opposite Nicole Kidman in "Rabbit Hole," and then helming "The Spectacular Now" with complete ease and intensity, I was not expecting him to be the machine of fury and magnitude that is on display in "Whiplash." There are moments where he channels the emotional aura of performances like Tom Hulce/F. Murray Abraham in "Amadeus," as crazy as that sounds. I am so excited to see where Teller goes from here. It makes the future of film a lot more bright, knowing that someone like him will be rising up in the ranks.
Everything you've heard about J.K. Simmons is true and then some. A fully fleshed out supporting role, Chazelle doesn't write Fletcher as a caricature. He's a deeply acute individual, full of passion and acrimony. Chazelle doesn't keep Simmons at a "10," he and Simmons allow him to find a range of empathy, hatred, and cryptic allowances that will keep you at the edge of your seat. As I watched Simmons flesh out a performance that can only be described as magnificent, I kept coming back in my mind to Christoph Waltz in the Oscar-winning "Inglourious Basterds," a role that found much heat on the awards circuit. The world/all film lovers will not be able ignore the stunning presence of Simmons. A Supporting Actor nominations (maybe even a win) seems all but assured (and deserved). Looking back at the veteran actor's career that included memorable roles in "Juno," "Burn After Reading," and "Up in the Air," a role like this could not have come at a better time. Already impressive in his brief work in Jason Reitman's "Men, Women & Children," writers, directors, casting agents, and producers will be pounding on the actor's door.
You can't credit "Whiplash" without citing the words and control by writer/director Damien Chazelle. An amazing and outstanding sophomore effort (unfortunately have not seen his debut "Guy and Madeline on a Park Bench") that channels a young Bennett Miller. Vigorous, self-assured, and innovative, Chazelle is a brilliant auteur filmmaker that knows exactly what type of films he wants to make. He takes inspiration from his own life, his love of film and music, and other places I'm sure we don't know about, and molds them into a gritty, layered experience, conditioned with rich characters, all realized through the writer's story. It's one of the best scripts of the year.
"Whiplash" features some of the best minutes of film seen in 2014. An ending that will bring tears to your eyes, dual performances that will have you applaud, and an experience that you surely will not forget. Drumming has never felt like such a personality. It acts as a visible tool for the viewer to understand and try. If you love music, appreciate education, and dare to be better than your current state, you will find something very real to latch onto. Hold on, and hold on tight.
"Whiplash" is being distributed by Sony Pictures Classics and will be released October 10 in limited release (and then expanding after). A must-see for all movie lovers!
Blistering
TheLittleSongbird16 February 2017
Nominated for five Oscars, and winning three (editing, sound and Best Supporting Actor, with nominations for screenplay and Best picture), 'Whiplash' is positively blistering, with a darker and more realistic view on aspirations and done in a way that's tense and inspirational.
Visually, 'Whiplash' looks great with grittily atmospheric photography with plenty of beautiful, gripping shots (like close-ups of the drum playing) and some of the tightest, cleverest and most audacious editing of any film that year. The sound is also thrilling in its intense authenticity, and really add to the impact of the pulse-racing Jazz soundtrack. There is in particular unbelievable drum playing that serves as a fond reminder of iconic drum players of the classic Jazz Age, the final drum solo is long but exhilaratingly played and a huge part of why the ending sends up a storm as much as it does.
The script is sharp and cutting, sometimes uncompromising and at other points patient. The story is not new, but makes a point of aspirations and talent having its dark and less glamorous side, competitiveness and that there are always obstacles (including dictatorial bullies). While not quite as extreme in life as shown here situations and people like seen in the film exist. The story is at its most successful in its tension between Andrew and Fletcher, which is thrilling and nail-biting, and Andrew's very relatable and inspiring drive and passion, and much of it is very taut and rarely laborious in pace.
Damian Chazelle directs with a clear love for film and the jazz style and passion for the subject. 'Whiplash' has great performances all round. The secondary cast do much with little and Miles Teller more than holds his own in a telling lead performance. This is JK Simmons' film however, proving that his Oscar win was one of that year's most deserved wins. He doesn't just dominate the film with his ruthless manner as a terrifyingly dictatorial character, but actually IS essentially the film, one's terrified of him but also understands his point of view.
'Whiplash' could have been slightly better this said. Most of the supporting cast, especially Andrew's family (the film at least tries to say why the romance was rushed and dropped, in that it didn't mean anything to him like his playing of music did), are severely underwritten and underused. The car crash scene and the aftermath also feels out-of-kilter and even the most committed musician wouldn't be in the right function to do what happens after that scene.
Otherwise, this is a blisteringly great film with a huge amount to recommend. 9/10 Bethany Cox
Visually, 'Whiplash' looks great with grittily atmospheric photography with plenty of beautiful, gripping shots (like close-ups of the drum playing) and some of the tightest, cleverest and most audacious editing of any film that year. The sound is also thrilling in its intense authenticity, and really add to the impact of the pulse-racing Jazz soundtrack. There is in particular unbelievable drum playing that serves as a fond reminder of iconic drum players of the classic Jazz Age, the final drum solo is long but exhilaratingly played and a huge part of why the ending sends up a storm as much as it does.
The script is sharp and cutting, sometimes uncompromising and at other points patient. The story is not new, but makes a point of aspirations and talent having its dark and less glamorous side, competitiveness and that there are always obstacles (including dictatorial bullies). While not quite as extreme in life as shown here situations and people like seen in the film exist. The story is at its most successful in its tension between Andrew and Fletcher, which is thrilling and nail-biting, and Andrew's very relatable and inspiring drive and passion, and much of it is very taut and rarely laborious in pace.
Damian Chazelle directs with a clear love for film and the jazz style and passion for the subject. 'Whiplash' has great performances all round. The secondary cast do much with little and Miles Teller more than holds his own in a telling lead performance. This is JK Simmons' film however, proving that his Oscar win was one of that year's most deserved wins. He doesn't just dominate the film with his ruthless manner as a terrifyingly dictatorial character, but actually IS essentially the film, one's terrified of him but also understands his point of view.
'Whiplash' could have been slightly better this said. Most of the supporting cast, especially Andrew's family (the film at least tries to say why the romance was rushed and dropped, in that it didn't mean anything to him like his playing of music did), are severely underwritten and underused. The car crash scene and the aftermath also feels out-of-kilter and even the most committed musician wouldn't be in the right function to do what happens after that scene.
Otherwise, this is a blisteringly great film with a huge amount to recommend. 9/10 Bethany Cox
They could have done better
TaddWinter28 January 2014
Warning: Spoilers
I saw this about 24 hours ago at the Best of Fest for Sundance, and this last 24 hours I have done little but think about and marvel at this film. I really had zero expectations going in, I heard the buzz surrounding it in town, but knew very little about it as the film began. I have yet to get the words that do my thoughts justice for this movie but I am going to try.
First everything about this film was stellar; casting, writing, acting, directing, music and cinematography all came together to just tell an incredible story. I want to say a bit more about a couple of these aspects.
Acting, first of all I don't know who impressed me more Miles Teller in the lead as Andrew Nieman or JK Simmons playing Band teacher Terence Fletcher. Both did so great that had either been a lesser actor they would have been out shined by the other. Simmons' performance really reminded me of Gunnery Sargent Hartman from Full Metal Jacket, except rather than emotionally destroying and rebuilding marines he was doing it to 18 year old kids. His character could have easily been cartoony and 2 dimensional but Simmons gave him such depth that the whole film I felt compassion for and even understood his motives, even before he lays them out for Nieman in the third act. Two scenes bring you to the core of this character and the line that has intrigued me for 24 hours is "No words in the English language are more dangerous than 'good job.'" (thus why I titled my review as such, sorry I couldn't resist). Then on to Teller's performance, for a younger actor who I haven't seen in much I must say he played his role like a seasoned actor. His performance just wrapped me up and to find out he did much of the drumming himself is insane. Whilst watching some of the intense scenes I felt like I was watching him be executed, and other times it feels like the fight in Rocky, you feel like you are just watching him get demolished, except all of this is emotional rather than the easier physical. Whether it is the discouragement, the socially awkwardness, the single parent household, the internal conflict, the hubris, the arrogance, and at times the mental torture that he put himself through, all just blew me away. Teller reminded me of a much much more talented John Cusack and had the charisma and electricity to connect to the audience.
The one other thing I must commend is the writing, so often you kind of know where a movie is headed but this movie stayed very unpredictable and just when you think for certain how a scene or sequence of scenes will play out they take a hard left and keeps you off balance (in a good way). It was so refreshing, a few times I thought the bow was on the film but then something disrupts how "it should go or end".
Sorry if I rambled, perhaps after thinking on it more I can get a more focused review, needless to say this film is a must-see when it gets a broad release. Great job to all involved and congrats on winning the award at Sundance, you certainly earned it.
One last thing if this gets attention in wide release this could see a heightened interest in Jazz, this is certainly a film that can make even the not-so musically inclined want to throw on a Jazz record and just drown in it.
First everything about this film was stellar; casting, writing, acting, directing, music and cinematography all came together to just tell an incredible story. I want to say a bit more about a couple of these aspects.
Acting, first of all I don't know who impressed me more Miles Teller in the lead as Andrew Nieman or JK Simmons playing Band teacher Terence Fletcher. Both did so great that had either been a lesser actor they would have been out shined by the other. Simmons' performance really reminded me of Gunnery Sargent Hartman from Full Metal Jacket, except rather than emotionally destroying and rebuilding marines he was doing it to 18 year old kids. His character could have easily been cartoony and 2 dimensional but Simmons gave him such depth that the whole film I felt compassion for and even understood his motives, even before he lays them out for Nieman in the third act. Two scenes bring you to the core of this character and the line that has intrigued me for 24 hours is "No words in the English language are more dangerous than 'good job.'" (thus why I titled my review as such, sorry I couldn't resist). Then on to Teller's performance, for a younger actor who I haven't seen in much I must say he played his role like a seasoned actor. His performance just wrapped me up and to find out he did much of the drumming himself is insane. Whilst watching some of the intense scenes I felt like I was watching him be executed, and other times it feels like the fight in Rocky, you feel like you are just watching him get demolished, except all of this is emotional rather than the easier physical. Whether it is the discouragement, the socially awkwardness, the single parent household, the internal conflict, the hubris, the arrogance, and at times the mental torture that he put himself through, all just blew me away. Teller reminded me of a much much more talented John Cusack and had the charisma and electricity to connect to the audience.
The one other thing I must commend is the writing, so often you kind of know where a movie is headed but this movie stayed very unpredictable and just when you think for certain how a scene or sequence of scenes will play out they take a hard left and keeps you off balance (in a good way). It was so refreshing, a few times I thought the bow was on the film but then something disrupts how "it should go or end".
Sorry if I rambled, perhaps after thinking on it more I can get a more focused review, needless to say this film is a must-see when it gets a broad release. Great job to all involved and congrats on winning the award at Sundance, you certainly earned it.
One last thing if this gets attention in wide release this could see a heightened interest in Jazz, this is certainly a film that can make even the not-so musically inclined want to throw on a Jazz record and just drown in it.
A music themed sports movie that dissolves like toilet paper with a little thought
mtthwkrl26 May 2016
Warning: Spoilers
A plucky young drummer heads to the big time and cracks under the pressure of a dictatorial band director, pushing him to come back to greater heights. As a sports movie, Whiplash is very effective. Unfortunately, it doesn't really have anything to do with music (or reality), and its vision of artistic achievement comes with some very unsavory undertones.
Let's consider for a second the ludicrousness of its melodrama. No music director would slap his players, use abusive language, or trash instruments in the way portrayed in the film. The film falls apart if you question its equation of jazz and big band, or question whether becoming a player with Jazz at Lincoln Center is the pinnacle of achievement. The film also never addresses the racial context of jazz, which is a nearly unforgivable sin.
But it's the whole mythos that holds that art is effort and effort is abuse and therefore any abuse is justified in the pursuit of greatness that is the most offensive to me. Anybody that's ever tried to get good at anything has met teachers like Fletcher, and they suck. If the movie stopped at being a portrait of toxic masculinity and the danger that comes from bad boundaries, then it would have done its job well. But it seems like the filmmakers and many of the people that are praising this movie fundamentally admire Nieman for enduring through his trials, and that's very disheartening to me
Let's consider for a second the ludicrousness of its melodrama. No music director would slap his players, use abusive language, or trash instruments in the way portrayed in the film. The film falls apart if you question its equation of jazz and big band, or question whether becoming a player with Jazz at Lincoln Center is the pinnacle of achievement. The film also never addresses the racial context of jazz, which is a nearly unforgivable sin.
But it's the whole mythos that holds that art is effort and effort is abuse and therefore any abuse is justified in the pursuit of greatness that is the most offensive to me. Anybody that's ever tried to get good at anything has met teachers like Fletcher, and they suck. If the movie stopped at being a portrait of toxic masculinity and the danger that comes from bad boundaries, then it would have done its job well. But it seems like the filmmakers and many of the people that are praising this movie fundamentally admire Nieman for enduring through his trials, and that's very disheartening to me
Astonishing performance
xiaohei-801123 November 2019
This is a very unique movie even u are not into jazz but still can drew u into the atmosphere of it without moving your eyes.My eyes were dry after seeing this movie.Miles and Jk portray it flawless .Jk remind me of ex employer will use your weakness background against you if anything go wrong.Director done very well using camera angle to capture the face of the actor to create the tension in it.Have to admit I hate Fletcher brutal teaching, but most of the music icons were pushing to their limit practice to perfectly everyday,so he is not entirely wrong also.just my fantasy,it will be great if this movie can use 120fps technology to capture the facial expressions of two lead actors.
Intense But The Hype And Awards Possibly Work Against It
Theo Robertson27 March 2015
Do you know who I am ? " asks the film's protagonist as the audience are introduced to him
Yeah you're that Nazi dude who enjoys raping all the new arrivals at the Oswald State penitentiary . Yes JK Simmons is back playing an Oscar winning role which isn't all that different from the role OZ fans know him for . It's nice to see that this years Oscar nominations were heavily in favour of indie cinema . It's even nicer to know that this is the film my fellow members of this site was the pick of the crop from 2014 film releases so sat back hoping to get blown away by it
So is it any good ? Yes but I should quickly qualify this by stating it's not really the masterwork some people might claim it to be . One criticism THE HURT LOCKER received was that you could easily rework the story as someone who has become addicted to adrenaline . Instead of a bomb disposal man you could have the story involve a fireman who takes more and more risks and so it's the same with WHIPLASH . How about a brutal drill instructor trying to turn weak civvies in to efficient killing machines ? That's already been done a hundred times before and so here we've a reworking of a familiar story in a slightly unfamiliar setting of a music school . It's a slightly predictable story and in order for it not to be so predictable there's a few plot turns involving situations that become rather contrived and unlikely to say the least
What stops it all falling apart is director Damien Chazelle using all the tools at his disposal involving editing , sound mix and cinematography to disguise the flaws in the story telling . Certainly many directors nowadays think editing revolves around taking as much cocaine as possible while mutilating any coherent on screen action . The editing style of WHIPLASH is some what showy but is genuinely admirable at the same time . It's nice to actually watch a film and notice the editing while never being irritated by it WHIPLASH is one of the better films of 2014 but it's probably a film that's easier to admire than to like . I did like it but didn't love it and I'm not in a great hurray to watch it again
Yeah you're that Nazi dude who enjoys raping all the new arrivals at the Oswald State penitentiary . Yes JK Simmons is back playing an Oscar winning role which isn't all that different from the role OZ fans know him for . It's nice to see that this years Oscar nominations were heavily in favour of indie cinema . It's even nicer to know that this is the film my fellow members of this site was the pick of the crop from 2014 film releases so sat back hoping to get blown away by it
So is it any good ? Yes but I should quickly qualify this by stating it's not really the masterwork some people might claim it to be . One criticism THE HURT LOCKER received was that you could easily rework the story as someone who has become addicted to adrenaline . Instead of a bomb disposal man you could have the story involve a fireman who takes more and more risks and so it's the same with WHIPLASH . How about a brutal drill instructor trying to turn weak civvies in to efficient killing machines ? That's already been done a hundred times before and so here we've a reworking of a familiar story in a slightly unfamiliar setting of a music school . It's a slightly predictable story and in order for it not to be so predictable there's a few plot turns involving situations that become rather contrived and unlikely to say the least
What stops it all falling apart is director Damien Chazelle using all the tools at his disposal involving editing , sound mix and cinematography to disguise the flaws in the story telling . Certainly many directors nowadays think editing revolves around taking as much cocaine as possible while mutilating any coherent on screen action . The editing style of WHIPLASH is some what showy but is genuinely admirable at the same time . It's nice to actually watch a film and notice the editing while never being irritated by it WHIPLASH is one of the better films of 2014 but it's probably a film that's easier to admire than to like . I did like it but didn't love it and I'm not in a great hurray to watch it again
Hollywood hogwash with good technique
louisandvinny6 January 2015
Warning: Spoilers
My non-musician friends love this film and insisted I see it. I've been a jazz musician for over 30 years and have taught in a jazz university for over 20. So they figured I would relate. Sorry, this is total crap and it makes me sad to think that the average guy out there thinks Kenny G is cool and this film is a hard-edged depiction of the high-pressure jazz school scene. First of all, no prof would be there a day after any of the rehearsals Terence ran, he'd be dismissed immediately (not hard to do, apparently this school didn't have tenure). And next, jazz is communication, conversation, thoughtfulness, and a big dollop of joyful soul. Any drummer with the competitive mean-spirited attitude shown by any of these students would find themselves in extremely lonely company, nobody appreciates that. This is the 21st Century equivalent of Mickey Rooney and Judy Garland saying, "I know, let's build a show to save the town!" as a representation of Show Biz. it's Hollywood hokum, folks, and I resented its basic assumptions. Where is the Soul? That said, J.K. Simmons is great, working with what he's got. And the cinematography and editing are well done (what IS all that water on the cymbals we see so often? Sweat? If Elvin Jones had gained two hundred pounds he wouldn't have sweated like that! Oh well.) which is why I grudgingly added two stars to this. It's been a while since I so disliked a film. P.S. my drummer plays better than any of these guys. Hah!
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