Whiplash

In the age of social media, “hot take” articles incite outrage and polar, ideological opinions on movies no one has seen, influencing the way moviegoers perceive films.

  87 years into the ceremony, the Oscars are still unabashedly about the movies. Host Neil Patrick Harris along with Anna Kendrick performed a whizzbang ode to “moving pictures” in perfect Broadway musical style. And despite the fresh songwriting that seemed to give a nod to last year’s winners for Frozen and “Let it Go”, …

If only sheep, wolves, and sheepdogs roam this Earth as Chris Kyle’s (Bradley Cooper) father informs him early on in American Sniper, then Clint Eastwood’s film represents the cross-breed of the hound and sheep – a creation perplexed as to who it is, its identity betwixt and between the protector that it wants to be and …

2015 is finally here and so are the Oscars and actual Awards Season. No more of this speculation and hype machine stuff around movies that haven’t come out yet or guilds that haven’t had their say. Oscar voting ends today, January 8, and nominations are revealed bright and early on January 15, one week from …

15. The Immigrant  – If one were to rank the films of 2014 based solely on innovation, The Immigrant would probably end up near the bottom. Writer-director James Gray’s languid melodrama tells the tumultuous story of a resilient Polish woman looking to find a slice of the American Dream, without much in the way of …

It’s been a great year for film music. I say that as someone who had to endure the laughably dated qualities of Alberto Iglesias’ Exodus: Gods and Kings and had to swallow the pill that is Howard Shore‘s latter days Middle-earth music. But it has been a great year. Clint Mansell gave us haunting, complex soundscapes in Noah, the …

40. Night Moves Since 2006, Kelly Reichardt has found a way to reach inside of the hearts of her audiences, plucking out strings one by one with desolate re-imaginations of the American Pacific Northwest, seen through the eyes of people not so different than ourselves. With Meek’s Cutoff, she departed from her typical genre and moved …

Whiplash Justin Hurwitz Varese Sarabande Birdman Antonio Sanchez Milan Records “I’d rather die drunk, broke at 34 and have people at a dinner table talk about me than live to be rich and sober at 90 and nobody remembered who I was.” That’s how jazz drumming prodigy Andrew Neyman (Miles Teller) sums up art and, …

The 2015 Film Independent Spirit Award nominations came out this morning and unsurprisingly there are a lot of names here that won’t be on an Oscar handicappers list. Birdman is arguably the biggest film on this list – and it leads the field with nominations for Best Feature, Best Director, Best Male, Best Supporting Male and …

NYFF 2014: Chris’ Top 5 – A year dominated by its main slate Not much more can be said about the sheer grandeur and highbrow allure of the New York Film Festival. Gala debuts and celebrity red carpet events have become quite the norm for the festival, making its 52nd installment no exception. No, this …

It’s only just October and already the Oscar season has grown ugly. And it’s not even the contenders battling for rank. The heat is coming from the pundits themselves, who have already grown weary of some of their colleagues’ BS and perpetual trumpeting. In Mark Harris’s brilliant first post about the Oscar race so far, …

Originally birthed as an 18-minute short, premiering at the 2013 Sundance Film Festival, Whiplash went on to garner enough attention to become a feature full-length film. Thank God it did. The feature-length version of Whiplash masterfully showcases the pressures of perfection in a tightly plotted, beautifully shot, soberly performed package. From the creative genius of sophomore director Damien Chazelle comes a semi-autobiographical experience just as exhilarating as it is shocking. Whiplash tells the story of Andrew Neyman (Miles Teller), a promising young drummer who enrolls at an elite music conservatory, where his dreams of greatness are mentored by Terence Fletcher (J.K. Simmons), a ruthless music conductor who will stop at nothing to realize his student’s potential talent. With the audience on the edge of their seats, the question constantly being taunted is thus: how far is too far for pushing a student towards greatness?

Damien Chazelle’s Whiplash, now conquering New York after wowing audiences at film festivals all the way back to Sundance last winter, opens with a title card over black while a few taps on a snare drum build into a furious drum roll. It’s a fine way to symbolize the conflict at the center of the film, which accelerates to “furious” so quickly and easily that it’s barely perceptible. Tension builds slowly in an empathic crescendo, before snapping over and over again like the repeated pounding of a cymbal. Whatever arguments this film may inspire, it’s clear that there is no other film in existence which makes music so thrilling.

The Hype Cycle is News Editor Brian Welk’s roundup of industry news, reviews and predictions of everything Oscar, boiled down into weekly power rankings of the buzziest and most likely contenders in this year’s awards season. This article is Part 2 of this week’s Hype Cycle column. Read Part 1 from yesterday.  7. Foxcatcher and …

Pop Montreal has never been a festival to settle in it’s laurels and coast on it’s popularity. Having long fostered an identity as a boundary pushing musical festival focusing on young and emerging talents, over the past decade the festival has challenged it’s identity by expanding its scope. Added in 2004, Film Pop was a …

Damien Chazelle’s Whiplash centers on a young drummer at a prestigious Manhattan music academy who finds a caustic instructor willing to do anything to urge him toward greatness. This may sound like the beginning of a sentimental, feel-good movie in which encouragement and perseverance win out. But Chazelle’s character study isn’t in the least bit evocative of Mr. Holland’s Opus or Stand and Deliver. Instead, the unrelenting verbal abuse heaped on the student vacillates between hilarious and needlessly demeaning. The ceaseless degradation creates a gray area of quasi-fulfillment where the cinematic rewards are anything but pure. Whiplash keeps the audience on its toes, never letting you think for a moment that the road to artistic success is easy or that one’s competition isn’t eagerly awaiting your total failure for their gain.