Whiplash

Interstellar-and-Particle-Fever

A lot of Best Picture hopefuls each year have documentary counterparts. It makes sense, because biopics and other true stories are great fodder for Oscar bait. Some are as easy as Monster and Milk being linked to Nick Broomfield’s Aileen Wuornos films and The Times of Harvey Milk, respectively, in part because the dramas were directly influenced by their doc predecessors. Others, like Dallas Buyers Club and How to Survive a Plague and Captain Phillips and Stolen Seas are not as officially linked but certainly go together by being about the same real-life subject matter. Occasionally even the fictional contenders are informed by docs, as was Gravity heavily modeled after footage from the IMAX movie Hubble 3D. Lately I’ve noticed a phenomenon where a lot of the 2014 Best Picture candidates are not just easily tied to past documentaries but specifically correspond quite perfectly with docs that are also in contention for Academy Awards this year. This isn’t to say all the following titles up for the Best Picture or Best Documentary categories will wind up nominees, but it sure would be cool for the five in the latter group to line up with five of the former and that could lead to a whole segment of the ceremony devoted to nonfiction and the different ways to tell true stories, depict actual events and address real issues and ideas. They could even make it a musical number.

read more...

Whiplash

What defines a horror movie villain? Someone (or something) that is emotionless, relentless, haunting and makes you bleed. By this definition, Whiplash gave audiences one of the most terrifying villains released in the horror month of October, but it may not be the character you expect. There is no question that J.K. Simmons’ Fletcher is relentless as he pushes Andrew (Miles Teller) to excel at his chosen instrument. But it is the instrument itself that is the true villain of this story – the drum set. It’s emotionless, relentless, constantly haunts Andrew and (as you can see) makes him bleed. Andrew is drawn to the drums in a way that has him constantly coming back for more – no matter how much pain and anguish the drums cause him. Andrew cannot keep himself from the pull of playing, but he’s not simply in it for the love of the music; Andrew wants to be the best. No matter what Andrew does to fight against the drum set – sweating on it, bleeding on it, punching them out – it survives. If he destroys it, there is always another set, taking its place for him to play. Like a guy in a William Shatner mask, Whiplash’s drum set can never truly be killed.

read more...

Oldboy Ending

It’s been a hell of a week, so it would be great to talk about films that make us happy. Unfortunately, that’s not the show we prepped. Instead, we’ve got a dissection of characters who are pushed to the breaking point, inspired by Miles Teller destroying himself to become the next Buddy Rich in Whiplash. Who knew jazz drumming was so brutal? We’ll discuss people incrementally becoming disillusioned, forget to talk about Oldboy and then connect Falling Down to Gamer Gate in one seamless move. Plus, a 10th anniversary appreciation of what Saw did right as a low budget horror movie made in an astonishingly short amount of time (18 days, no kidding). You should follow the show (@brokenprojector), Geoff (@drgmlatulippe) and Scott (@scottmbeggs) on Twitter for more on a daily basis. Please review us on iTunes Download Episode #74  Or subscribe Through iTunes

read more...

20000 Days on Earth

For a while, it seemed like movies about music were at serious risk of getting in an unsalvageable rut of redundancy. Narrative films have relied repeatedly on the musical biopic, where seemingly every landmark musician in the second half of the twentieth century has been afforded an identical dramatic arc. It’s a formula that an occasional great performance can rise above, but ultimately offers little new in terms of cinema’s relationship with the power of pop. Nonfiction films, by contrast, have shown an opposite problem, treating lesser-known chapters of popular music history (from underappreciated artists to allegedly undervalued studios) with all-too-familiar hagiographies and seemingly requisite Bono interviews. But 2014 has not only produced a surprising glut of interesting films about music, it’s shown how great movies about music can explore relationships between sound and image, music and history, art and the artist well outside of the tired formulas. Here are some solid movies released this year that have generated a rather different kind of noise.

read more...

Miles Teller and JK Simmons in Whiplash

Who would have thought the most brutal film of the year would be about jazz? Andrew (Miles Teller), the protagonist of Whiplash, is a first-year jazz drumming prodigy who possesses the talent to be one of the greats but not the work ethic. When he finally meets someone who can train him to be the best, it is both a blessing and a curse. He makes it into the elite “studio” band led by Fletcher (J.K. Simmons), a legendary teacher and conductor, and Andrew’s confidence at having made the group is immediately and brutally ripped apart. Fletcher abuses him in every way imaginable: he slaps him repeatedly, screams ethnic slurs, and even throws a cymbal at his head. Why are such stringent teaching methods necessary? It’s all part of Fletcher’s teaching philosophy: “The two most destructive words in the English language,” he tells Andrew late in the film, “are ‘good job’.” Still, Fletcher’s abuse is nothing compared to what Andrew does to himself: practicing until his hands bleed, pushing his muscles to the brink of collapse, and running away from a violent car crash in order to be on time for an important band competition. This is not a simple case of a teacher abusing his student; Andrew wants to be great just as badly as Fletcher wants him to be, and both of them have bought into a system of physical punishment to achieve that goal. Does any of this sound familiar? Many films have utilized the dynamic of a […]

read more...

review whiplash

Some people are content simply doing things. Work, art, music. The act alone justifies the time spent before the next thing comes along that captures their interest and affection. But for others, the idea of contentment is a foreign concept left behind in the urgent march forward to be the absolute best. These are the greats, the ones the rest of us know by name or by the images/sounds they create. Andrew (Miles Teller) wants to be one of those greats. His focus is drumming, jazz drumming in particular, and his immediate goal is to catch the ear of the Schaffer Music Academy’s legendary professor, Terence Fletcher (J.K. Simmons). The man makes and breaks musicians, but his method of channeling R. Lee Ermey’s meaner cousin threatens to destroy Andrew’s dream before it even begins. Whiplash is a percussive thriller that drops viewers into the middle of an obsession, one that assaults the eyes and ears with a painful beauty and the occasional misstep before reaching an incredibly invigorating finale. Equal parts suspense and musical drama, the film is a blistering experience.

read more...

Ben Affleck in Gone Girl

Doesn’t it feel like we just finished up covering the Toronto International Film Festival and Fantastic Fest? Well, it should, because we did, but that’s festival season for you, and now we’ve got a whole other festival (in a whole other city) to get to work on. This year’s New York Film Festival (the fifty-second!) kicks off later tonight with the world premiere of David Fincher‘s Gone Girl (side note: we cannot wait), followed by a hefty number of hyped and highly anticipated features. This year’s festival boasts a solid mix of festival favorites — Whiplash! Pasolini! – and some brand new stuff that’s yet to rock audiences — Inherent Vice! CitizenFour! – all combining into one hell of a fun slate that should quite easily send its attendees into Oscar time feeling quite prepared. Festival season is here, and here’s what we can’t wait to see at this year’s NYFF.

read more...

Miles Teller and JK Simmons in Whiplash

Do you miss the days when J.K. Simmons was a sadistic, sociopath prison rapist? Nowadays, he’s not so much into the dangerous manipulation and sex abuse — not when there’s a steady line of cop, military and general “authority figure” roles that let Simmons speak to us with his particular manner of sarcastic wisdom. But all those lectures on what we don’t know about our insurance have gotten a little stale. It’s time for Simmons to reclaim his rightful place on the “please stop screaming at me, sir” throne. He’ll do so with Whiplash, this year’s Sundance darling that stars Miles Teller as a young jazz drummer who just wants to make it big, man, and Simmons as the big man who will guide Teller to his dreams of being the next Buddy Rich. Oh, and Simmons’ preferred method of musical instruction is screaming so close to your face that his saliva strands brush your eyelashes. That’s the twist with Whiplash. Unlike most films where a character is super good at playing some kind of instrument, music isn’t the all-enlightening force that will right our hero’s wrongs and provide that outlet for creative expression that lets us know how deep and yet also flawed he is. Here, music is a platform for the scary bald man to beat you, then threaten much worse: he’ll “gut you like a pig” if all drumming is not perfect from now until the sweet release of death. Watch the new trailer for the movie below.

read more...

Sundance 2014

Seems like just twelve days ago that Kate Erbland and I posted a list of our most anticipated films playing at this year’s Sundance Film Festival. Our choices were based on elements as diverse as cast, premise, the filmmaker’s previous work, and even the two-word concept of an “abortion comedy.” As is always the case, though, expectations are never fully met, and while some movies we expected to love ended up disappointing us others that weren’t even on our radar completely blew us away. That, in a lanyard-wearing nutshell, is the beauty of film festivals. Unlike movies that open at your local cineplex or release onto Blu-ray and DVD each week, the majority of festival titles are unknown entities. There are no trailers or other marketing materials for these films, and the talent involved are often barely familiar faces at best. Most of the screenings are complete crapshoots, and I wouldn’t have it any other way. This year’s Sundance was one of the most rewarding film festivals I’ve attended in regard to quality, and it’s evident in the high number of films already picked up for distribution. It’s telling that I had to exclude great and/or highly entertaining movies like Dear White People, Cooties, Kumiko the Treasure Hunter, and The Battered Bastards of Baseball to narrow down my list below. Keep reading to see Kate’s and my top fourteen films of Sundance 2014.

read more...

ironman2-warmachine-poster-header

Usually when I say that you ‘must see’ something, I’m not looking to lead you astray. How could this possibly be any different?

read more...

IronMan2Header

You’ve been clamoring for non-grainy images, so we’re delivering them to you. Free of charge. (But please tip your waitstaff).

read more...

mickeyrourke_header

Does that mean that Rourke has turned down a $250,000 check from Marvel? Find out inside.

read more...

Rourke and Rockwell for Iron Man 2

Both actors are in talks with Marvel Studios to play the main villains in the highly anticipated second installment of the Iron Man franchise.

read more...
Twitter button
Facebook button
Google+ button
RSS feed

published: 11.21.2014
D
published: 11.21.2014
B+
published: 11.19.2014
C+
published: 11.19.2014
B-, C


Some movie websites serve the consumer. Some serve the industry. At Film School Rejects, we serve at the pleasure of the connoisseur. We provide the best reviews, interviews and features to millions of dedicated movie fans who know what they love and love what they know. Because we, like you, simply love the art of the moving picture.
Fantastic Fest 2014
6 Filmmaking Tips: James Gunn
Got a Tip? Send it here:
editors@filmschoolrejects.com
Publisher:
Neil Miller
Managing Editor:
Scott Beggs
Associate Editors:
Rob Hunter
Kate Erbland
Christopher Campbell
All Rights Reserved © 2006-2014 Reject Media, LLC | Privacy Policy | Design & Development by Face3