WHIPLASH (2014)

On paper, a film about a jazz drummer and his volatile conductor doesn't feel like one of the most gripping stories of the decade, but what's so fantastic about Damien Chazelle's sophmore outing (Guy and Madeline on a Park Bench being his first feature) is that it tosses aside all preconceived notions about a movie set in a jazz conservatory and flings them out the window in a fit of howling rage.

Despite its insultaed setting, Whiplash deals with themes everyone can relate to; desire versus talent; coaching versus bullying; sacrifice versus self-destruction. J.K. Simmons and Miles Teller have palpable chemistry and an extremely layered dynamic that, to my mind, has never been achieved in such grandiose fashion before in film.

Chazelle isn't afraid to be tough on his characters and clearly revels in pitting them against one another, drawing as much drama as possible from their conflict. More on the subject of Teller and Simmons' student/teacher relationship, the fact that they essentially both want the same thing makes their clash so much more satisfying because, ultimately, they just have different methods of going about it. Teller's Andrew desperately wants to be a great musician and Simmons' Fletcher desperately wants to be a great musician's teacher.

For me, what is especially inspiring about this film is that it creates spectacle and atmosphere with a modest setting and a small cast. This is something all filmmakers should aspire to achieve; making a film FEEL big even if it doesn't LOOK big. This is largely achieved by, in addition to the leads' brilliant performances, the sharp, precicse cinematography and razor sharp editing. Editor Tom Cross's Academy Award was well earned for Whiplash's beauitfully assembled final cut.

I love this film because it is so outside of what would normally be in my purview. It's not quite like anything I've seen before which works entirely to its advantage. Within its first five minutes, Chazelle establishes the central conflict of the film, as well as Teller and Simmons' core motivations. Between this, Guy and Madeline, La La Land and the upcoming Neil Armstrong biopic, First Man, Chazelle has already has a magnificent filmography and a bright future ahead.