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.

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

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

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!

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.