Review: Whiplash

by Trevor Kirkendall

★★★★

As a former high school band member – or “band dork” as we were so affectionately known as amongst the popular cliques – and as a one-semester music major in college, there are many elements about “Whiplash” to which I can relate. Musicians practice and practice and practice to be the best they can be on their instruments. And when they’ve finished practicing, they practice some more. It’s a ritual that will drive just about anyone insane. What’s worse is when you have an instructor or teacher who demands perfection at all times. You may think you’re giving it your all, but they’re telling you you’re not. Whether or not we can consider this to be bullying is a completely different question. Instead, “Whiplash” focuses on the emotional challenges of striving for perfection.

Andrew Neiman (Miles Teller) wants to be one of the great jazz drummers of all time, like Buddy Rich. He’s enrolled at the Shaffer Music Conservatory in New York because it’s the best music school in the country. There, he catches the eye of Terence Fletcher (J.K. Simmons), the director of the school’s top jazz ensemble. He invites Andrew to try out for a new alternate drummer spot in the band. Andrew knows that studying with Fletcher and performing in his band is exactly where he needs to be.

But it’s not all that easy for Andrew. Fletcher is a cruel and unyielding teacher. He demands absolute perfection for all members of his ensemble, including Andrew on his first day. Not only is Fletcher demeaning to his students, he’s also physically abusive. He’s not afraid to slap Andrew right across the face when Andrew can’t tell him if he’s just slightly ahead or behind the tempo. He’s also not afraid to hurl chairs across the room at Andrew either. But Andrew knows he must play in this band. So he dumps his girlfriend (Melissa Benoist) and moves out of his dorm room and into a practice room. There, he practices every chance he gets – through blood, sweat and tears, literally – to become one of the greats, and to try and win over Fletcher.

“Whiplash” is one hell of a relentless movie going experience. It’s a ride unlike anything else you’ll see this year. I’m sure there’s some naysayer out there who will try and tell me that some big budget CGI infested sequel or franchise installment is a better experience, but that’s just not the case. This film comes from 29-year old writer/director Damien Chazelle. After one picture, I can already tell you he’s going to be someone you’ll want to pay attention to.

What Chazelle has delivered with “Whiplash” is something that’s so mature and so polished that it never comes across as a first feature. It’s so well refined that you could tell me Soderbergh directed it and I probably would have believed you. His script is razor sharp. Screenwriters are told to get in their stories late and get out early. They’re told to trim as much fat off the story as possible, and to tell the tale with the bare minimum. Most writers ignore these rules – see, or rather don’t see “Transformers” 2, 3 or 4 for this example – but Chazelle has followed these tips and it works extraordinarily well. The film begins and ends at just the right times. And everything in between is utterly necessary in order for Chazelle to get his story told correctly.

Teller only continues to impress with each performance. This will go down as the performance for which all future roles will be compared. It’s mind blowing how good he is in this film. Every time he steps behind the drum kit, he delivers such a powerful performance that leaves you breathless. He may not actually be playing these drum parts in real life – I’d be equally shocked and impressed to find out he did – but he sells it to you nonetheless.

While Teller’s character is the star of the story, Simmons is the star of “Whiplash” without question. Simmons has spent years on screen in minor roles in all kinds of films. The superhero fans will no doubt remember him from the Sam Raimi “Spider-Man” films J. Jonah Jameson. He also seems to appear in just about every recent film from the Coen Brothers and Jason Reitman too. He’s always memorable in all of his roles, but you’re never ever going to forget him after watching this triumphant performance in “Whiplash.” From the first frame he appears in till his last, Simmons commands every square inch of the silver screen in a way I haven’t seen any actor do in many, many years. He’s a textbook antagonist. In his mind only, nothing he does or says is wrong. And you hate him for all his actions. There are no likable qualities about this villain. He is mean and downright vile. Simmons doesn’t want you to like him either. In fact, he wants you to hate him with every ounce of energy you have. He makes it very easy to do this. This is a historic cinematic performance; one for the ages.

“Whiplash” is a transfixing cinematic experience. It’s a blistering film full of intense and emotionally bruising moments that will stay with you long after you’ve left the theater. The most impressive attribute of this film is its ability to take your breath away at multiple times. This is most true during the film’s final 10-minute climax. Not only does it leave you breathless, but also leaves you sweating alongside our hero and begging for more once it’s over. It's not often that I’m rendered speechless after a film, but I don’t think I said more than four or five words after leaving the screening. “Whiplash” is absolutely entrancing and unlike anything else you’ll see this year.