Whiplash

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.

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.

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

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".

The story of a jazz drummer who is pushed to the brink by sadistic music conductor.

As a drummer myself, I found the depiction of the art, the the elements of 'the band room' very accurate - with the exception of the crazy conductor (mine was quite nice by contrast). What makes this film so excellent is the character driven storytelling. I watched this the same weekend as Doctor Strange in the Multiverse of Madness ("MOM"), and I was far more captivated by the conflict between the characters of Whiplash than I was of MOM.

Whiplash featured incredible twists and turns, that kept me glued to the screen. This is an underrated gem that deserves more praise.