Damien Chazelle – Way Too Indie http://waytooindie.com Independent film and music reviews Fri, 02 Dec 2016 17:34:42 +0000 en-US hourly 1 Way Too Indiecast is the official podcast of WayTooIndie.com. Our film critics grip and gush about the latest indie movies and sometimes even mainstream ones. Find all of our reviews, podcasts, news, at www.waytooindie.com Damien Chazelle – Way Too Indie yes Damien Chazelle – Way Too Indie dustin@waytooindie.com dustin@waytooindie.com (Damien Chazelle – Way Too Indie) The Official Podcast of Way Too Indie Damien Chazelle – Way Too Indie http://s3-us-west-2.amazonaws.com/waytooindie/podcast-album-art.jpg http://waytooindie.com 10 Cloverfield Lane http://waytooindie.com/review/movie/10-cloverfield-lane/ http://waytooindie.com/review/movie/10-cloverfield-lane/#respond Thu, 10 Mar 2016 11:34:46 +0000 http://waytooindie.com/?p=44294 Follows not one of its predecessor's footsteps, to great success. A high-intensity, streamlined, claustrophobic thriller.]]>

First-time feature director Dan Trachtenberg milks a simple, succulent premise for everything it’s worth in 10 Cloverfield Lane, a quasi-sequel to 2008’s found-footage urban thriller Cloverfield. Mary Elizabeth Winstead plays our resourceful, sharp-minded hero, who, after a wicked car crash, wakes up trapped in a subterranean survival bunker with a lumbering, creepy captor (John Goodman) who claims the outside world has been reduced to a wartorn, uninhabitable wasteland. It’s a powder keg of a movie with an old-school approach to storytelling that’s interested not in philosophy or meaning, but simply in the events unfolding right in front of our eyes. It’s a story that asks what (the fuck) is happening rather than why things are happening, and that makes it less complicated and more streamlined than the typical, weighty, modern-day thriller.

The first two acts are equal parts mystery and suspense, with the finale bursting at the seams with surprises and edge-of-your-seat thrills and chills. The script, by Whiplash director Damien Chazelle and newcomers Matthew Stuecken and Josh Campbell, is a solid chamber mystery that doesn’t push any boundaries but is the perfect support system for Trachtenberg and the actors to make the movie special with what they each bring to the table. High tension runs throughout the movie’s runtime (not an easy feat), and that’s a product of the performances, visual style, and pulse-pounding orchestral score by Bear McCreary. It’s a harmonious popcorn-movie affair, with nary a weak link in sight.

In a tearful hurry, aspiring fashion designer Michelle packs some light bags and peels off in her car, fleeing from a failing relationship. Night falls, and, distracted by her beau lighting up her cell phone, she flies off the road. The shock of the crash is unnervingly concussive, images of a tumbling Winstead and roaring sounds of broken glass (mixed almost painfully loud) cut violently into the film’s opening credits. Immediately, we get a taste for Trachtenberg’s punchy, mischievous style.

Michelle (Winstead) wakes up in a windowless room that would feel more like a prison cell were it not for the life-supporting amenities wrapped around her right leg (a knee brace) and stuck in her left arm (a flowing IV). Suddenly, the heavy metal door clanks open and in walks Howard (Goodman, having so much fun being a total creep), a nutty survivalist who claims there’s been a disastrous attack above ground that’s wiped everyone and everything Michelle knows into oblivion. What’s worse, he informs her that the air outside has been rendered unbreathable. Bottom line: for the foreseeable future, Howard’s bunker is her world.

Howard says he found Michelle in the wreckage of her accident and took her to his shelter, saving her from most certain doom. But there’s no way this ex-Navy weirdo is telling the whole truth, right? Every sentence that comes out of his mouth is either off-putting or suspicious, and he even suggests that Martians could very well be behind the attacks. He might as well have “UNRELIABLE” tattooed across his massive belly (right underneath another tattoo that reads “THE TRUTH IS OUT THERE!”).

Our instincts tell us that this guy is a full-on serial killer/rapist who’s lying about everything, but everything gets thrown off balance when Michelle discovers a third bunkmate, Emmitt (John Gallagher Jr.), who vouches for everything Howard says despite the grisly lout beating the shit out of him for knocking over a shelf full of food. The plot is almost solely driven by the questions that naturally arise from Howard’s deceitful air (What are his true motivations? Has the world really gone to hell like he says?), and in this respect Goodman works wonders with his performance. He’s terrifying alright, but there’s a sadness underneath the surface that gives him dimension and keeps us on our toes. Michelle’s mind always seems to be on the go, her eyes taking in the details of her environment, searching for a potential tool she can use to get her out of whatever pickle she’s in. It’s a thoughtful performance by Winstead, who makes sure Michelle is the farthest thing from a damsel in distress. The actors make their characters’ mental and emotional underpinnings as interesting as any explosion of violence or plot twist, resulting in a more humanistic, tender film than one might expect.

It’s difficult to convey just how intense 10 Cloverfield Lane gets without venturing into spoiler territory. (What’s interesting to note, however, is that Trachtenberg’s career really began to build traction after he released a short film based on the video game Portal; that game’s narrative has more than a few things in common with 10 Cloverfield Lane‘s, which I found intriguing.) The revelations and twists that pile on in the latter half are delightful, not so much because they work on the page, but rather because they arrive so perfectly, bathed in suspense and terror and wackiness and all the things you’d find in the best episodes of The Twilight Zone. If there’s a downside to the lingering questions being answered it’s that the answers we get pale in comparison to the air of mystery they smash apart.

Now, the elephant in the room: How, exactly, is 10 Cloverfield Lane tied to Cloverfield? The surprise won’t be revealed here (the project was overseen by the Mystery Man himself, JJ Abrams, after all), but what I will say is that most of the pleasures found in Trachtenberg’s film have nothing to do with the found-footage original, with which it has almost nothing in common. In fact, this movie is significantly better than its predecessor, so it’s probably best to leave any expectations the Cloverfield brand may conjure in your mind at the theater door.

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‘Whiplash’ Side-By-Side Video, the Feature vs. the Short http://waytooindie.com/news/whiplash-side-by-side-video-the-feature-vs-the-short/ http://waytooindie.com/news/whiplash-side-by-side-video-the-feature-vs-the-short/#respond Tue, 07 Jul 2015 15:25:58 +0000 http://waytooindie.com/?p=38105 A side-by-side video comparison between Damien Chazelle's short version and full-feature version of 'Whiplash'.]]>

Before your favorite film junkie started referring to anything she didn’t like as, “not my tempo,” and before Whiplash chugged its way to 3 Oscar wins, director Damien Chazelle worked on a short version of the Best Picture nominated film in order to help sell investors. That short film ultimately felt quite similar to the movie it helped spawn, so it’s no surprise that Chazelle was able to not only make Whiplash, but make it in a way that closely resembled his first attempt at the story. A YouTube user Username Hype sought to analyze the differences between the short and the feature by syncing footage from the two films side-by-side.

This video provides a glimpse at the ways in which Chazelle was already fully prepared to make his feature. Many of the shots that are perfectly timed to the openings notes of “Whiplash” (the song) appear identical in both the short and feature. Likewise, J.K. Simmons‘ Oscar-winning drill sergeant-like presence is just as intimidating in the short form. A collection of the musicians used for the short re-appear (including C.J. Vana as Metz, the trombonist Fletcher throws out of class on Andrew’s first day); however, a notable diversion is Johnny Simmons (The Perks of Being a Wallflower, Scott Pilgrim Vs. The World) as Andrew Neyman rather than Miles Teller. The video provides an interesting study of a director’s choices, as well as the transition a film must undergo as it comes to fruition. Check out the full side-by-side Whiplash short to Whiplash feature comparison video above.

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2015 Spirit Award Nominations Announced http://waytooindie.com/news/awards/2015-spirit-award-nominations-announced/ http://waytooindie.com/news/awards/2015-spirit-award-nominations-announced/#respond Mon, 30 Nov -0001 00:00:00 +0000 http://waytooindie.com/?p=27955 It’s starting to feel like Christmas already as the nominations for our favorite awards show, the Film Independent Spirit Awards, were announced moments ago. Leading the pack with a total of six nominations was Alejandro G. Iñárritu‘s Birdman or (The Unexpected Virtue of Ignorance) grabbing nods for Best Feature, Best Director, Best Editing, and three […]]]>

It’s starting to feel like Christmas already as the nominations for our favorite awards show, the Film Independent Spirit Awards, were announced moments ago. Leading the pack with a total of six nominations was Alejandro G. Iñárritu‘s Birdman or (The Unexpected Virtue of Ignorance) grabbing nods for Best Feature, Best Director, Best Editing, and three acting categories. Not far behind it was Richard Linklater‘s masterful Boyhood which received a total of five nominations in major categories. Also landing five nominations were Dan Gilroy’s Nightcrawler, and Ava DuVernay’s Selma.

Perhaps the biggest surprise was the absence of Jean-Marc Vallée’s Dallas Buyer’s Club follow-up Wild, since a lot of people have been talking about Reese Witherspoon’s performance in it. However, the biggest snub this year belongs to The Overnighters for not getting a nod for Best Documentary, as this indie doc is getting some serious Oscar buzz. Also, I had to do a double take when seeing André Benjamin’s name under the Best Actor category, which seems a little out of left-field but also edged out Ellar Coltrane for Boyhood and Oscar Isaac for A Most Violent Year.

Here at Way Too Indie, we were especially happy to see nominations for some smaller films such as A Girl Walks Home Alone at Night (which picked up 3 noms and landed on our Must See Indie list), The One I Love, and It Felt Like Love. The 2015 Independent Spirit Awards will broadcast live (new this year) on IFC at 2:00/5:00pm PT/ET on Saturday, February 21, 2015.

Watch For: Our Spirit Award predictions coming soon.

2015 Independent Spirit Award Nominations:

Best Feature:

Birdman
Boyhood
Love is Strange
Selma
Whiplash

Best Director:

Damien ChazelleWhiplash
Ava DuVernaySelma
Alejandro G. IñárrituBirdman
Richard LinklaterBoyhood
David ZellnerKumiko, The Treasure Hunter

Best Screenplay:

Scott Alexander & Larry KaraszewskiBig Eyes
J.C. ChandorA Most Violent Year
Dan GilroyNightcrawler
Jim JarmuschOnly Lovers Left Alive
Ira Sachs & Mauricio ZachariasLove is Strange

Best First Feature:

A Girl Walks Home Alone at Night
Dear White People
Nightcrawler
Obvious Child
She’s Lost Control

Best First Screenplay:

Desiree AkhavanAppropriate Behavior
Sara ColangeloLittle Accidents
Justin LaderThe One I Love
Anja MarquardtShe’s Lost Control
Justin SimienDear White People

Best Male Lead:

André BenjaminJimi: All Is By My Side
Jake GyllenhaalNightcrawler
Michael KeatonBirdman
John LithgowLove is Strange
David OyelowoSelma

Best Female Lead:

Marion CotillardThe Immigrant
Rinko KikuchiKumiko, The Treasure Hunter
Julianne MooreStill Alice
Jenny SlateObvious Child
Tilda SwintonOnly Lovers Left Alive

Best Supporting Male:

Riz AhmedNightcrawler
Ethan HawkeBoyhood
Alfred MolinaLove is Strange
Edward NortonBirdman
J.K. SimmonsWhiplash

Best Supporting Female:

Patricia ArquetteBoyhood
Jessica ChastainA Most Violent Year
Carmen EjogoSelma
Andrea Suarez PazStand Clear of the Closing Doors
Emma StoneBirdman

Best Cinematography:

Darius KhondjiThe Immigrant
Emmanuel LubezkiBirdman
Sean PorterIt Felt Like Love
Lyle VincentA Girl Walks Home Alone at Night
Bradford YoungSelma

Best Editing:

Sandra Adair Boyhood
Tom CrossWhiplash
John GilroyNightcrawler
Ron PataneA Most Violent Year
Adam WingardThe Guest

Best International Film: (Award given to the director)

Force Majeure (Sweden)
Ida (Poland)
Leviathan (Russia)
Mommy (Cananda)
Norte, the End of History (Philippines)
Under the Skin (United Kingdom)

Best Documentary:

20,000 Days on Earth
CITIZENFOUR
Stray Dog
The Salt of the Earth
Virunga

John Cassavetes Award: (Given to the best feature made for under $500,000; award given to the writer, director, and producer)

Blue Ruin – Jeremy Saulnier
It Felt Like Love – Eliza Hittman
Land Ho! – Aaron Katz & Martha Stephens
Man From Reno – Dave Boyle
Test – Chris Mason Johnson

Special Distinction Award:

Foxcatcher

Robert Altman Award: (Given to one film’s director, casting director, and its ensemble cast)

Inherent Vice
Director: Paul Thomas Anderson
Casting Director: Cassandra Kulukundis
Ensemble Cast: Josh Brolin, Martin Donovan, Jena Malone, Joanna Newsom, Joaquin Phoenix, Eric Roberts, Maya Rudolph, Martin Short Serena Scott Thomas, Benicio Del Toro, Katherine Waterston, Michael Kenneth Williams, Owen Wilson, Reese Witherspoon

Piaget Producers Award: (Award given to a producer)

Chad Burris
Elisabeth Holm
Chris Ohlson

Truer Than Fiction Award: (Award given to the director)

Amanda Rose WilderApproaching the Elephant
Darius Clark MonroeEvolution of a Criminal
Dan KraussThe Kill Team
Sara DosaThe Last Season

Someone to Watch Award: (Award given to the director)

Ana Lily AmirpourA Girl Walks Home Alone at Night
Rania Attieh & Daniel GarciaH.
Chris EskaThe Retrieval

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Damien Chazelle: We’re Too Narrative-Focused When It Comes to Movies http://waytooindie.com/interview/damien-chazelle-were-too-narrative-focused-when-it-comes-to-movies/ http://waytooindie.com/interview/damien-chazelle-were-too-narrative-focused-when-it-comes-to-movies/#respond Mon, 30 Nov -0001 00:00:00 +0000 http://waytooindie.com/?p=26866 As we emerge on the other side of the long film festival season and move into awards season, Damien Chazelle’s Whiplash has been drumming up (sorry) so much good publicity that it isn’t crazy to think the 29-year-old filmmaker may be holding his first golden statue in a few months time. About an aspiring jazz drummer (Miles Teller) […]]]>

As we emerge on the other side of the long film festival season and move into awards season, Damien Chazelle’s Whiplash has been drumming up (sorry) so much good publicity that it isn’t crazy to think the 29-year-old filmmaker may be holding his first golden statue in a few months time. About an aspiring jazz drummer (Miles Teller) and his relentless, reprehensible teacher (J.K. Simmons), the film (out now in limited release, with a wider release this Friday) has been one of the most critically acclaimed of the year, and one of my personal favorites.

While in San Francisco for the Mill Valley Film Festival, I spoke with Damien about pummeling audiences into submission with drum solos; Teller and Simmons’ performances; films being too narrative-focused; what he’s doing next, and more. Check the full interview out below!

Whiplash Interview: Damien Chazelle

Video by Adam Clay
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MVFF37 Day 6: Whiplash, Gett: The Trial of Viviane Amsalem http://waytooindie.com/news/mvff37-day-6-whiplash-gett-the-trial-of-viviane-amsalem/ http://waytooindie.com/news/mvff37-day-6-whiplash-gett-the-trial-of-viviane-amsalem/#respond Mon, 30 Nov -0001 00:00:00 +0000 http://waytooindie.com/?p=26683 After five days of the typical film festival arthouse heartbreakers and soul-shakers, I began to feel a bit of emotional fatigue as I reached the halfway point of MVFF37. Mr. Turner, The Homesman, Clouds of Sils Maria–all fine films, but how much misery must a poor man endure! I’ve only so much to give! All jokes aside, I […]]]>

After five days of the typical film festival arthouse heartbreakers and soul-shakers, I began to feel a bit of emotional fatigue as I reached the halfway point of MVFF37. Mr. TurnerThe HomesmanClouds of Sils Maria–all fine films, but how much misery must a poor man endure! I’ve only so much to give! All jokes aside, I love a good understated film with slow-paced storytelling framed by painterly vistas, but after watching several of them in a row, I needed a good kick in the gut to wake me up. A jumpstart of sorts. That, my friends, is where Whiplash came to my rescue.

Whiplash

The Bald Meanie

Like I said, my gas tank was running on low on day 6 of the festival, but as I pulled up to Century Cinemas in Corte Madera, a few miles down highway 101 from Mill Valley, I knew I had a treat waiting for me inside the massive 600-seat theater. I’d seen Damien Chazelle’s Whiplash–starring Miles Teller and J.K. Simmons–a couple weeks prior and was getting pretty pumped up about watching the intense (I mean, intense) movie about a drummer’s devotion once again.

Chazelle was in attendance, posing humbly on the red carpet in front of the theater, as was Metallica drummer Lars Ulrich, who chose to present the film as his selection in the festival’s Artists In Residence program starring he and his fellow bandmates. As Ulrich took the stage in front of the buzzing sea of eager festival-goers, he clarified once and for all that he didn’t choose to present Whiplash because it was a “drumming movie”, but because it was “a fucking good movie that happens to be about drumming!”

Click to view slideshow.

Right he is. The staggeringly cinematic film follows a student jazz drummer named Andrew (Teller) as he gets bullied and berated at the country’s most prestigious music school by its most notoriously brutal instructor, Fletcher (Simmons). Is Fletcher’s unrelenting, savage style of teaching meant to help Andrew achieve his dreams, or is he trying to make his life a living nightmare for the hell of it? Andrew’s pushed beyond his limits as he fights to keep his spot on the jazz ensemble, sacrificing blood, sweat, and tears on his single-minded quest for greatness.

A large portion of Whiplash unfolds in the practice rooms at Shafer, an intimate space where musicians are simply practicing music. But Chazelle and his team use dizzying, breathtaking camerawork and editing to make these scenes as intense and brutal as any horror or action movie you’ll see all year. Simmons’ frightening presence and Teller’s blazing musical performance (he did about 90% of the on-screen drumming), combined with Chazelle’s bravura filmmaking, make for a film whose intensity level is ungodly high. The film’s finale is so electrifying I forgot to breathe.

Help Me To Understand…

At the end of the day, I guess I am a glutton for punishment. Whiplash was a blast, but now I think it’s time to talk about a film that pushed my buttons and wound me up so much I could hardly bear it. Gett: The Trial of Viviane Amsalem takes place in modern day Israel, a place where there is no such thing as civil divorce. In order for a divorce to proceed, the man must give the final approval; the wife has no say. There are thousands of unhappy wives living in Israel today waiting for this law–which allows their husbands to essentially hold them hostage–to be amended.

Directed by siblings Shlomi and Ronit Elkabetz, who also stars as Viviane alongside Simon Abkarian in the role of her husband, Elisha, the film’s premise is simple: Viviane wants a divorce, Elisha says no. Almost the entire film takes place in a small court room in separate hearings that span five years, a brilliant device that engages the imagination (we never see their home life) and enrages to no end. Despite Viviane’s pleas and Elisha’s admittance to their marriage being unfulfilling, Viviane and the judges’ hands are tied by Elisha, whose refusals to grant divorce papers persist. The moral absurdity at play is infuriating, and with luck, Gett will help make change in Israels divorce policy. Fine performances and clever camerawork help to get across the important message at the film’s core.

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TIFF 2014: Whiplash http://waytooindie.com/news/tiff-2014-whiplash/ http://waytooindie.com/news/tiff-2014-whiplash/#comments Mon, 30 Nov -0001 00:00:00 +0000 http://waytooindie.com/?p=25486 Whiplash has been one of the biggest hits on the festival circuit so far this year, getting rave reviews from Sundance, Cannes, and from many audiences here in Toronto as well. And it’s pretty easy to see why: An impressive cast makes for an entertaining watch. But the film ultimately keeps its focus too shallow […]]]>

Whiplash has been one of the biggest hits on the festival circuit so far this year, getting rave reviews from Sundance, Cannes, and from many audiences here in Toronto as well. And it’s pretty easy to see why: An impressive cast makes for an entertaining watch. But the film ultimately keeps its focus too shallow and stays within its comfort zone. A flimsy attempt at a love story could have been explored further for maximum impact, but it might as well have been nonexistent. One thing’s for sure; Whiplash will be the best film about drumming that you’ll see all year.

The up-and-coming Miles Teller portrays an aspiring drummer who will do whatever it takes to earn a spot on an élite ensemble. But to do that he must impress the unforgiving and impossible-to-please instructor, played by J.K. Simmons (who gives his best impression of the drill sergeant from Full Metal Jacket). One of the primary messages of Whiplash is about pushing people to their limits (and sometimes over their limits), that much is clear. But a particular “rushing or dragging” bit in one scene grew tiresome and repetitious despite its poignant intentions. The film’s energetic soundtrack and performances inspire an appreciation for the art of drumming, but as a whole Whiplash misses more than a few beats.

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First Clip: Whiplash “Rushing or Dragging” http://waytooindie.com/news/first-clip-whiplash-rushing-or-dragging/ http://waytooindie.com/news/first-clip-whiplash-rushing-or-dragging/#respond Mon, 30 Nov -0001 00:00:00 +0000 http://waytooindie.com/?p=21368 J.K. Simmons hurls chairs and slaps his drummer as abusive jazz instructor Terence Fletcher in the first clip from Sony Pictures Classics’ Whiplash. Winner of the Audience Award and Grady Jury Prize at this year’s Sundance Film Festival, Whiplash is Damien Chazelle‘s 2nd feature as director, but is already gaining hype following its strong debuts […]]]>

J.K. Simmons hurls chairs and slaps his drummer as abusive jazz instructor Terence Fletcher in the first clip from Sony Pictures Classics’ Whiplash. Winner of the Audience Award and Grady Jury Prize at this year’s Sundance Film Festival, Whiplash is Damien Chazelle‘s 2nd feature as director, but is already gaining hype following its strong debuts at Sundance and Cannes (from which you can read our review). With The Spectacular Now‘s Miles Teller in the role of a young drummer, many critics note that the film provides its other star, J.K. Simmons, a near-perfect vehicle for the former J. Jonah Jameson’s brand of half-screamed scolding.

Whiplash is set for limited release on October 10th this year, and some have J.K. Simmons and this film pegged as an outside contender for awards season. Watch the first clip below:

First Clip from Whiplash

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Whiplash (Cannes Review) http://waytooindie.com/review/movie/whiplash-cannes-review/ http://waytooindie.com/review/movie/whiplash-cannes-review/#comments Mon, 30 Nov -0001 00:00:00 +0000 http://waytooindie.com/?p=21370 Like the two previous Sundance hits, Whiplash goes through familiar emotional motions which prevent it from being the kind of sensation the Sundance buzz might make you think it is. But, there are two important ways it distances itself from Beasts Of The Southern Wild and Fruitvale Station. Firstly, it’s stylized enough to not have […]]]>

Like the two previous Sundance hits, Whiplash goes through familiar emotional motions which prevent it from being the kind of sensation the Sundance buzz might make you think it is. But, there are two important ways it distances itself from Beasts Of The Southern Wild and Fruitvale Station. Firstly, it’s stylized enough to not have an air of forced importance in each shaky frame or gritty filter. Secondly, it’s very funny and comedy goes a long way. There was some commotion in Sundance when Buzzfeed’s Amanda Willmore stirred the gender pot and called the film out on its representation of women, and I can’t deny the truth in that. This is a boy’s film through and through, where mothers desert their children, girlfriends have no ambition, and girls have no place in famed musical courses. Leaving that major setback aside, for now, the film still uses a musical passion rarely given attention to and makes a highly enjoyable and invigorating film built around determination and pushed limits.

Andrew Neyman (Miles Teller) wants to be remembered as one of the greatest drummers to have lived and the film wastes no time in throwing you right into the thick of it. He is practicing a special double-tap technique with drums when one of Shaffer Conservatory of Music’s most feared and respected instructors, Terence Fletcher (J.K. Simmons), walks in to listen, observe, and see if Neyman would fit in his band. It’s quickly established that Fletcher’s version of listening and observing is criticizing and deriding thanks to an exceedingly high standard. However, Neyman’s determination and skill impresses Fletcher enough to give the 19-year old a shot, in preparation for an upcoming competition. Andrew’s strained relationship with his father (Paul Reiser), his efforts to have a relationship with Nicole (Melissa Benoist), and the dismissive way we find out that his mother deserted the family, are contextualized around his passion for being a drummer. Whiplash is about the lines dividing passion and obsession, the willingness of the spirit to never give up, and a highly flawed teaching principle.

Whiplash indie movie

There’s much to admire in Whiplash, and if audience reaction is used as measurement of a film’s success you’d think Whiplash was the greatest film out of Cannes, not just the Director’s Fortnight where the year’s Sundance hit usually lands. You’d have to be made of stone to not be swept up by the film’s  crescendo, an ending designed to put audiences into a frenzy. It’s only when hindsight kicks in that you realize some of the film’s messages get lost in the pandemonium of emotion. Fletcher is the vulgar, drill-seargent, hard-ass you love to hate, whose character shades do little to cover up deeply flawed principles, and yet, once you think the film acknowledges them it turns around and drops them like a bad habit. Luckily, we have character actor J.K. Simmons (channeling cinema’s toughest drill sergeant from Full Metal Jacket) in a role that was made for his sharp wit (all he’s gotta do is close a door to make you laugh) and knack of going from intense to kind with a seamless flick of the switch. This is the closest he’ll ever get to Best Support Actor award consideration. But if you consider him, then Teller should get mention as well. He’s at his best when he’s behind the drum set and playing as if possessed by the ghost of Buddy Rich. Compared to his turn in the great The Spectacular Now, this performance shows that he’s growing and if he continues like this he’s going to be major.

The most admirable thing to take away from Whiplash is the balance of comedy and drama, and supported by two strong performances and award worthy editing from Tom Cross, is the young director at the helm; Damien Chazelle. He should be flooded with offers right about now, so don’t be surprised to hear how he’s going to be directing some kind of Spider-Man VS Godzilla spin-off, because at 28 years of age, Chazelle is by far the biggest star of the film. With an original screenplay brimming with quotable lines and memorable scenes (the “out of tune” episode is one of many uproarious highlights) and assured direction of a young man’s dissent into a dangerously taxing obsession, while effectively portraying the effects of psychological harassment, Chazelle will be one of the year’s biggest talking points (not unsimilar to Benh Zeitlin, but in my opinion, more deserved). However, we come back to the film’s flaws which the age, experience, and gender of the director make all the more understandable. Whiplash is immensely enjoyable to watch and listen to (the music is fantastic, as it must be) but the predictable emotional pushes and pulls, and the rather immature and dismissive representation of women in the film highlight the director’s inexperience. Nonetheless, he’s absolutely one to watch and for fans of J.K. Simmons, you’ve got your favorite movie in Whiplash.

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Grand Piano http://waytooindie.com/review/movie/grand-piano/ http://waytooindie.com/review/movie/grand-piano/#respond Mon, 30 Nov -0001 00:00:00 +0000 http://waytooindie.com/?p=18354 Every once in a while, we all see one of those special films – something that pushes the boundaries, defies expectations, breaks down the walls and makes us reconsider what is possible in the world of film making. Eugino Mira’s Grand Piano, starring Elijah Wood, is just such a film – it is a movie […]]]>

Every once in a while, we all see one of those special films – something that pushes the boundaries, defies expectations, breaks down the walls and makes us reconsider what is possible in the world of film making. Eugino Mira’s Grand Piano, starring Elijah Wood, is just such a film – it is a movie that challenges you, radically expanding one’s notion of how you can blow several million dollars at a single go– several big-name actors, technical-virtuosic production value, and the most improbable plot line you could ever think of.

The film takes the notion of piano recital jitters to the utmost extreme – musical prodigy Tom Selznick (played by Wood) returns to the stage after a long hiatus, hoping to reclaim the spotlight after an embarrassing bout of stage fright five years before. With the support of his wife, successful actress Emma Selznick (Kerry Bishé), things seem to be looking up for Selznick.

That is, until the performance – Selznick suddenly discovers an ominous note left on his sheet music, warning him if he plays one wrong note he will die. Thus we are launched into a psychological thriller so intensely implausible it’s hard to know what to make of the whole thing. Was the film meant to be funny? Indeed, it’s campiness and ironic touches of humor (from the wife’s crazy best friend and her tagalong husband, to the obnoxious comments that Wood receives from well-wishers throughout the film) could lead one to think it was all made in jest.

Grand Piano movie

If Hitchcock made the film (who Mira is certainly drawing from), perhaps we could take it more seriously, but as it stands Grand Piano seems caught between its serious delivery and the sheer corniness of everything else. Thus we are left with this bizarre, campy film that appears unaware of it’s own silliness. Toss in a few odd Citizen Kane references, John Cusack’s random appearance as the film’s villain, and the distracting height difference between Wood and his leading lady, and you leave the theatre not sure whether to laugh or simply wish you had seen something else. Let’s face it – the movie is essentially about a piano player who hopes his audience won’t shoot him.

To the film’s credit, the production value was astoundingly high, and technically excellent – it featured beautiful cuts, musical scoring, lighting and all the rest. The actors did the best they could, adding to the film’s crisp and well-executed feel. Indeed, the fluidity of the whole thing (along with its subtle hints of humor) is what saves Grand Piano. It’s fast-paced, gripping style is engaging despite the plot’s overwhelming implausibility – the movie’s ridiculous, but it looks so good viewers it’s hard not to want to believe what’s onscreen.

As a brief aside, the film is surprisingly insightful in its portrayal of stage fright – not just the anxiety, but the obnoxiousness of compliments, words of encouragement and annoying well-wishers. But best of all is the ultimate, ridiculous realization, (and insult to every perfectionist out there), that for all your fear, the audience probably won’t notice if you screw up (though they might try to kill you for it if they do).

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