[h=1]Whiplash (2014)[/h]
[h=3]TOMATOMETER[/h] 97%
Average Rating: 8.5/10
Reviews Counted: 146
Fresh: 141
Rotten: 5
Critics Consensus: Intense, inspiring, and well-acted, Whiplash is a brilliant sophomore effort from director Damien Chazelle and a riveting vehicle for stars J.K. Simmons and Miles Teller.
[h=3]AUDIENCE SCORE[/h] 95% liked it
Average Rating: 4.5/5
User Ratings: 8,030
[h=3]TOMATOMETER[/h] 97%
Average Rating: 8.5/10
Reviews Counted: 146
Fresh: 141
Rotten: 5
Critics Consensus: Intense, inspiring, and well-acted, Whiplash is a brilliant sophomore effort from director Damien Chazelle and a riveting vehicle for stars J.K. Simmons and Miles Teller.
[h=3]AUDIENCE SCORE[/h] 95% liked it
Average Rating: 4.5/5
User Ratings: 8,030
Posted by Nolan Dalla on Nov 24, 2014 in
The Difference Between Being Good and Great (Movie Review: “Whiplash”)
What’s the biggest difference between being merely good versus great?
For most, it’s a readiness to make personal sacrifices. It’s the ability to withstand pain. At times, it’s even the willingness to suffer, not just physically, but also in terms of humiliation.
The greats forgo competing interests. They cede mundane pleasures. While their peers play, they spend time and energy continuously crafting their skills. Blind ambition begets this monogamous mistress. Whether the singular pursuit is music, art, writing, science, athletics, or whatever, success almost always comes at a price — which for those fortunate enough to achieve it means putting everything else on hold. That goes for family, relationships, even one’s own personal needs.
It’s perhaps why so many musicians turn to alcohol and drugs for sustenance.
“Whiplash,” the captivating film written and directed by the relatively new and unknown Damien Chazelle, is stocked with terrific performances, thought-provoking ideas, a suspenseful story with some nice plot twists, and plenty of catchy jazz riffs. It’s the story of a 19-year-old student drummer played by Miles Teller attending his first year at a prestigious music conservatory which seemingly is based on The Juilliard School in New York City. However, the young aficionado encounters a drill-sergeant like music teacher played by J.K. Simmons who drives him to the brink of a nervous breakdown. The cat and mouse game between Teller the student and Simmons the teacher is the central, in fact sole, theme of the movie.
The unusual choice of Simmons cast in the role of a tyrannical taskmaster works wonderfully. Normally typecast as a police investigator on a popular television show, Simmons is actually better known for his ongoing appearances in the nerdy, mild-mannered Farmers Insurance commercials. That calm temperament we’re so used to seeing in other characters remains an essential part of Simmons’ hidden strength in this role. He’s not afraid of revealing this softer side. However, there’s a time bomb ticking constantly within Simmons while he’s rigidly teaching jazz to his undergraduates. All it takes is one flat pitch or a slow tempo to ignite the fuse and make the instructor explode into a real motherfucker, albeit with a purpose.
No doubt, these students can take it. That’s why they’ve chosen to be here. They know this hallowed place is where some of the best musicians in the world are contorted and crafted, while inferior stock gets spit out onto the street. Simmons’ fiery temperament chops the hocks and molds the clay that will eventually be fired into vessels of musical precision and innovation. Apparently the horror of making sausage has nothing on crafting great jazz.
Simmons’ abusive tactics with Teller often seems excessive and unnecessary. His barrage of verbal assaults laced with racism and profanity can’t possibly make a musician play better jazz, can it? Can it?
Well, maybe it can. And that’s the film’s murky grey matter, which is intelligent enough to let the audience decide four ourselves what constitutes acceptable teaching practices and voluntary sacrifices in the pursuit of greatness. Do the ends justify the means? Anyone who has pursued something which requires tremendous commitment will be able to identify with the aspiring jazz musician here, and will likely ponder serious questions long after leaving the move theater. Call it “The Paper Chase” with a drum beat. Blood on the sticks.
Aside from these deeper issues about what most successful artists must do in order to transcend what’s merely expected of them — in other words elevating themselves from really good to undeniably great — “Whiplash” satisfies in other aspects, as well. The film takes its title from a song by the same name. The score is heavily influenced by big band era music, albeit with a more contemporary sound and feel. Familiar songs are interrupted numerous times, however, since most of the scenes are shot during rehearsals. Teller, the actor, actually took an extensive series of drum lessons to play this part and comes across in a most convincing fashion. Think of a 22-year-old Buddy Rich driven to become the very best.
Without dishing out spoilers, one of the very best scenes in the movie comes when Teller attends a small family get-together, which brings an assortment of various cousins to the dinner table all engaged in conversation. No one sitting around this meal can possibly empathize with the utter hell that Teller must endure to become a great drummer. Making his indignity worse however, is that no one even attempts to empathize. Bottom line — no one cares. Meanwhile, the glories of a young college football player telling stories about sacking the quarterback for some Division 3 school attracts the family’s genuine interest and enthusiasm. That’s the way it often is for artists. They’re misunderstood. They’re forced to play second string to everyone else.
Incredibly, “Whiplash” was filmed in just 16 days and made for around $3 million, a paltry budget by Hollywood standards. A shorter version ran at the Sundance Festival, which attracted attention and investment. That enabled this, the longer version to be made. It’s a real underdog of a movie made by a director who bears watching. We might even see Oscar nominations for both of the leads, Teller and Simmons.
“Whiplash” is absorbing, up tempo, and imaginative. I give it a solid recommendation.
STARS: 3.5 on a scale of 5
The Difference Between Being Good and Great (Movie Review: “Whiplash”)
What’s the biggest difference between being merely good versus great?
For most, it’s a readiness to make personal sacrifices. It’s the ability to withstand pain. At times, it’s even the willingness to suffer, not just physically, but also in terms of humiliation.
The greats forgo competing interests. They cede mundane pleasures. While their peers play, they spend time and energy continuously crafting their skills. Blind ambition begets this monogamous mistress. Whether the singular pursuit is music, art, writing, science, athletics, or whatever, success almost always comes at a price — which for those fortunate enough to achieve it means putting everything else on hold. That goes for family, relationships, even one’s own personal needs.
It’s perhaps why so many musicians turn to alcohol and drugs for sustenance.
“Whiplash,” the captivating film written and directed by the relatively new and unknown Damien Chazelle, is stocked with terrific performances, thought-provoking ideas, a suspenseful story with some nice plot twists, and plenty of catchy jazz riffs. It’s the story of a 19-year-old student drummer played by Miles Teller attending his first year at a prestigious music conservatory which seemingly is based on The Juilliard School in New York City. However, the young aficionado encounters a drill-sergeant like music teacher played by J.K. Simmons who drives him to the brink of a nervous breakdown. The cat and mouse game between Teller the student and Simmons the teacher is the central, in fact sole, theme of the movie.
The unusual choice of Simmons cast in the role of a tyrannical taskmaster works wonderfully. Normally typecast as a police investigator on a popular television show, Simmons is actually better known for his ongoing appearances in the nerdy, mild-mannered Farmers Insurance commercials. That calm temperament we’re so used to seeing in other characters remains an essential part of Simmons’ hidden strength in this role. He’s not afraid of revealing this softer side. However, there’s a time bomb ticking constantly within Simmons while he’s rigidly teaching jazz to his undergraduates. All it takes is one flat pitch or a slow tempo to ignite the fuse and make the instructor explode into a real motherfucker, albeit with a purpose.
No doubt, these students can take it. That’s why they’ve chosen to be here. They know this hallowed place is where some of the best musicians in the world are contorted and crafted, while inferior stock gets spit out onto the street. Simmons’ fiery temperament chops the hocks and molds the clay that will eventually be fired into vessels of musical precision and innovation. Apparently the horror of making sausage has nothing on crafting great jazz.
Simmons’ abusive tactics with Teller often seems excessive and unnecessary. His barrage of verbal assaults laced with racism and profanity can’t possibly make a musician play better jazz, can it? Can it?
Well, maybe it can. And that’s the film’s murky grey matter, which is intelligent enough to let the audience decide four ourselves what constitutes acceptable teaching practices and voluntary sacrifices in the pursuit of greatness. Do the ends justify the means? Anyone who has pursued something which requires tremendous commitment will be able to identify with the aspiring jazz musician here, and will likely ponder serious questions long after leaving the move theater. Call it “The Paper Chase” with a drum beat. Blood on the sticks.
Aside from these deeper issues about what most successful artists must do in order to transcend what’s merely expected of them — in other words elevating themselves from really good to undeniably great — “Whiplash” satisfies in other aspects, as well. The film takes its title from a song by the same name. The score is heavily influenced by big band era music, albeit with a more contemporary sound and feel. Familiar songs are interrupted numerous times, however, since most of the scenes are shot during rehearsals. Teller, the actor, actually took an extensive series of drum lessons to play this part and comes across in a most convincing fashion. Think of a 22-year-old Buddy Rich driven to become the very best.
Without dishing out spoilers, one of the very best scenes in the movie comes when Teller attends a small family get-together, which brings an assortment of various cousins to the dinner table all engaged in conversation. No one sitting around this meal can possibly empathize with the utter hell that Teller must endure to become a great drummer. Making his indignity worse however, is that no one even attempts to empathize. Bottom line — no one cares. Meanwhile, the glories of a young college football player telling stories about sacking the quarterback for some Division 3 school attracts the family’s genuine interest and enthusiasm. That’s the way it often is for artists. They’re misunderstood. They’re forced to play second string to everyone else.
Incredibly, “Whiplash” was filmed in just 16 days and made for around $3 million, a paltry budget by Hollywood standards. A shorter version ran at the Sundance Festival, which attracted attention and investment. That enabled this, the longer version to be made. It’s a real underdog of a movie made by a director who bears watching. We might even see Oscar nominations for both of the leads, Teller and Simmons.
“Whiplash” is absorbing, up tempo, and imaginative. I give it a solid recommendation.
STARS: 3.5 on a scale of 5
