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.

"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.

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.

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.

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.

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