Whiplash (2014 film)

Written and directed by Damien Chazelle, Whiplash is the story of a young jazz drummer who goes to one of the best music schools in the U.S. as he is being taught by one of the school’s most demanding and fearsome teachers. The film is an exploration into ambition as well as what it takes for someone to wanting to be the best as a young man copes with the demands of his teacher. Starring Miles Teller, J.K. Simmons, Melissa Benoist, Austin Stowell, Jayson Blair, and Paul Reiser. Whiplash is a tremendously powerful and chilling film from Damien Chazelle.

What happens when a young student at a music school gets the attention of a renowned teacher who pushes him to the edge? That is what the film is about as it is an exploration into a young man’s ambition to be the best jazz drummer out there. In encountering this jazz orchestra conductor who demands the best out of his students and nothing more, Andrew Neiman (Miles Teller) hopes to impress this man in the hopes that he can be like Buddy Rich. Yet, Terence Fletcher (J.K. Simmons) thinks Andrew might have what it takes as he pushes him emotionally and mentally to the breaking point. Even as he would put in drummers less talented than him to get into Andrew’s head as it would affect his personal life as well as other things.

Damien Chazelle’s screenplay showcases the ugliness of ambition where Andrew aspires to be great but it can do things that can destroy someone. Inspired by a story Fletcher tells everyone about Charlie Parker, Andrew hopes to impress Fletcher as he keeps practicing and practicing where it would take a toll on his hands where he would get blisters on his fingers. Yet, Fletcher’s demands and constant verbal abuse would get to Andrew as he would nearly lose control as it plays into the ugliness of ambition. Fletcher is an interesting character as he is someone that is looking for the next Charlie Parker or the next Buddy Rich. Even if it means destroying them and to see if they can get back up from that sense of humiliation which is his sick, twisted game of the mind.

Chazelle’s direction is very stylish as he creates a film that may look simple in terms of its compositions but it has this sense of energy that does play like a jazz record. It starts off slow but then it goes fast and slow again while maintaining a sense of rhythm that is unpredictable as it plays into the emotional context of the film. Chazelle’s usage of close-ups and extreme close-ups play into the emotion as it displays Andrew’s determination to be the best as there’s blood on the drum kit or in the look of Andrew’s face. The usage of medium and wide shots also play into the sense of energy as well as some of the looming tension that emerges where Chazelle would frame the actors to play into something that could explode. Especially as the sense of drama comes to ahead in the third act as it relates to Andrew coming to terms with everything he’s enduring as well as him questioning into if he really had what it takes to be a great jazz drummer. Overall, Chazelle creates a very captivating and haunting film about a young drummer’s ambition to be the best and the dangers of ambition.

Cinematographer Sharone Meir does brilliant work with the film‘s cinematography with its stylish use of lights for the performances on stage as well as in some of the interiors as it helps set a mood into the sense of darkness that Andrew is embarking on. Editor Tom Cross does incredible work with the editing to create some unique cuts that is very stylish that plays like a jazz record that features some of the intensity into Andrew‘s drumming and that sense of determination into living up to Fletcher‘s demands. Production designer Melanie Jones, with set decorator Karuna Karmarkar and art director Hunter Brown, does excellent work with the set pieces from the look of the studio that Fletcher conducts his class to the dorm that Andrew lived in.

Costume designer Lisa Norcia does nice work with the costumes from the clothes that Andrew wears which is casual while the clothes that Fletcher is all black with the exception of one scene. Visual effects supervisors Jamison Scott Gel and Grant Miller do terrific work in a notable sequence that plays into Andrew‘s obsession into trying to prove himself to Fletcher. Sound editors Craig Mann and Ben Wilkins is amazing as it plays to the intensity into how the drums sound as well as the way music is heard in other rooms as it‘s one of the film‘s highlights. The film’s music by Justin Hurwitz is fantastic for some of jazz-based score that plays into the film while music supervisor Andy Ross brings in a lot of frenetic jazz pieces from the likes of Tim Simonec, Stan Getz, Duke Ellington, Buddy Rich, Dana Williams, Nicholas Britell, and Hank Levy.

The casting by Terri Taylor is superb as it features some notable small roles from Chris Mulkey and Suanne Spoke as Andrew’s uncle and aunt, Jayson Blair as the core drummer that Andrew would replace from Fletcher’s class, and Austin Stowell as a classmate of Andrew who would try to replace him. Paul Reiser is excellent as Andrew’s father who is concerned with his son’s well-being as what is son is embarking on. Melissa Benisot is wonderful as Nicole who would date Andrew briefly early in the film as she copes with the demands he’s putting on himself to impress Fletcher. J.K. Simmons is phenomenal as Terence Fletcher as a jazz orchestra conductor who is an absolute tyrant that demands greatness in his players as he has this intimidating presence that is very scary at times. Finally, there’s Miles Teller in a remarkable performance as Andrew Neiman as this young man that aspires to be one of the great jazz drummers as he nearly breaks down in every level as Teller displays a humility and determination to become the best as it’s a very haunting performance.

Whiplash is an astonishingly powerful and exhilarating film from Damien Chazelle. Featuring top-tier performances from Miles Teller and J.K. Simmons, it’s a film that explores a young man’s drive to be great as well as the mental and emotional it would take to do so in the hands of taskmaster who will do anything to see if he has what it takes. In the end, Whiplash is a sensational film from Damien Chazelle.

Damien Chazelle Films: Guy and Madeline on a Park Bench - La La Land - First Man - Babylon (2022 film) - (The Auteurs #76: Damien Chazelle)

© thevoid99 2015

The Spectacular Now

Based on the novel by Tim Tharp, The Spectacular Now is the story of a high school senior who faces reality after being dumped by his girlfriend as he meets another young woman who would change his idea about living in the now. Directed by James Ponsoldt and screenplay by Scott Neustadter and Michael H. Weber, the film is a coming-of-age story of sorts that revolves around high school life where a young man doesn‘t think about the future as he prefers to live in the now. Starring Miles Teller, Shailene Woodley, Brie Larson, Kyle Chandler, Mary Elizabeth Winstead, and Jennifer Jason Leigh. The Spectacular Now is a charming yet engaging film from James Ponsoldt.

The film is about this young man named Sutter Keely (Miles Teller) who likes to live in the now as he likes to drink and party while being cool with everyone. Yet, his longtime girlfriend Cassidy (Brie Larson) dumps him as Sutter thinks she’ll come back until he meets another schoolmate named Aimee (Shailene Woodley) who is different from other girls. There, Sutter not only finds a young woman he might want to spend his time with while she challenges him to face the real world as he doesn’t think about the future at all as he just wants to live in the moment. Even as he has to deal with who he is as well as the fact about his parents split up as he lives with his mother (Jennifer Jason Leigh).

The film’s screenplay is largely told from Sutter’s perspective as he is this guy that loves to party with the people in his school, he loves to drink despite the fact that he’s only 18, and he loves to work at a men’s clothing story where he’s also buzzed most of the times. Yet, he’s also quite flawed as he often thinks about himself and being the guy that ladies love where he would often think about Cassidy who has a new boyfriend. Even Sutter’s friend Ricky (Masam Holden) thinks that Sutter won’t do the right thing to Aimee as he knows that she’s just a really good girl who could get hurt.

Fortunately, Aimee is able to hold on to her own while she doesn’t mind taking a sip of alcohol as she has some issues at home. Still, her time with Sutter would help make some decisions of her own about her future while she would be the one to push Sutter to find out about his dad (Kyle Chandler) whom he hadn’t seen for many years. Yet, that would be a moment in the third act that would force Sutter to think about where he might go if he continues to act the way he is. Notably as he also has to get answers from his mother and his older sister Holly (Mary Elizabeth Winstead) about why they don’t talk much about his dad.

James Ponsoldt’s direction is quite straightforward as he doesn’t really go for anything that is over stylized as he just wants to keep the presentation simple. Shot in location in Athen, Georgia, Ponsoldt does manage to create some unique compositions and scenes that is filled with some humor but also some low-key drama. Ponsoldt knows how to put the camera into a frame and how to create an atmosphere in a scene where it is all about telling a story as Ponsoldt also has a few montages to play up Sutter’s own sense of misadventures where he might have no idea about what he did. Still, Ponsoldt does create some tension in some scenes such as the eventual meeting between Sutter and his dad which showcases some chilling realities that Sutter might face. Even as the third act would have Sutter face things about himself as well as how it would impact his relationship with Aimee. Overall, Ponsoldt creates a very tender yet exhilarating film about a young man dealing with a possible future with the help of a young woman.

Cinematographer Jess Hall does excellent work with the film‘s cinematography to play up the gorgeous look of the daytime scenes in Athens to some more-low key yet stylish lights for the scenes at night. Editor Darin Navarro does nice work with the editing as it‘s mostly straightforward while it has a few montages and some methodical cuts for some the dramatic-suspense that occurs. Production designer Linda Sena and set decorator Jess Royal do terrific work with the set pieces from the look of the school the characters frequent at to Aimee‘s room that displays her unique personality.

Costume designer Peggy Stamper does wonderful work with the costumes as it‘s mostly casual with the exception of the prom dresses the girls wear. Visual effects supervisor Matthew Bramante does superb work with the film‘s minimal visual effects where it plays in only one scene that is very dramatic as it‘s one that is very unexpected. Sound editor Ryan Collins does marvelous work with the sound to play up the atmosphere of the parties as well as some of the smaller moments in the film. The film’s music by Rob Simonsen is fantastic for its low-key score that is a mixture of indie and ambient music while music supervisors Gabe Hilfer and Season Kent create a fun soundtrack that is a mix of country, hip-hop, electronic dance music, and indie music.

The casting by Angela Demo and Barbara J. McCarthy is brilliant for the ensemble that is featured as it includes some notable performances from Masam Holden as Sutter’s friend Ricky, Andre Royo as Sutter’s math teacher who is concerned about his future, Dayo Okeniyi as Cassidy’s new boyfriend who feels threatened by Sutter’s presence, Kaitlyn Dever as Aimee’s concerned friend Krystal, and Bob Odenkirk in a terrific standout performance as Sutter’s boss who appreciates Sutter’s help but has concerns for his well-being. Mary Elizabeth Winstead is excellent in a small role as Sutter’s holder sister Holly who becomes concerned about Sutter’s questions in relation to their father where she eventually gives him an answer. Brie Larson is wonderful as Sutter’s ex-girlfriend Cassidy who has a hard time trying to move on while revealing her frustrations towards Sutter.

Kyle Chandler is superb as Sutter and Holly’s estranged father Tommy who seems like a nice guy but reveals a lot of flaws that would eventually make Sutter realize what he might become. Jennifer Jason Leigh is amazing in a small yet crucial role as Sutter and Holly’s mom Sara who is concerned with Sutter’s life and behavior while being very cagey about his father as she does have this great scene where she talks to her son about why she hid the truth.

Finally, there’s the duo of Shailene Woodley and Miles Teller in remarkable performances in their respective roles as Aimee and Sutter. Woodley brings some wit and energy to her role as a young woman who is an outsider but also someone that is very engaging as Woodley makes Aimee a very unique character. Teller adds a sense of charm to the role of Sutter as someone who seems un-likeable for his lack of ambition and such but makes up for it by playing it cool while later dealing with his flaws. Teller and Woodley make a great pair in the way they interact as well as bring some realism to the situations they encounter.

The Spectacular Now is a phenomenal film from James Ponsoldt that features riveting performances from Miles Teller and Shailene Woodley. The film isn’t just a tender yet engrossing coming-of-age film but also one that explores the world of youth and how they try to live in the now unaware that there’s a whole world ahead of them as it’s told by a lost young man. In the end, The Spectacular Now is a sensational film from James Ponsoldt.

James Ponsoldt Films: (Off the Black) - Smashed - The End of the Tour - (The Circle (2017 film))

© thevoid99 2013

Rabbit Hole

Based on David Lindsay-Abaire’s Pulitzer Prize-winning play of the same name, Rabbit Hole tells the story of a married couple dealing with the loss of their son. During this horrific time, the couple each ventured into their own personal journeys with their marriage going into freefall. Directed by John Cameron Mitchell with the play’s creator writing the screenplay. The film explores grief and moving forward as it marks as a departure of sorts for the more radical and unconventional John Cameron Mitchell. Starring Nicole Kidman, Aaron Eckhart, Tammy Blanchard, Miles Teller, Sandra Oh, Jon Tenney, Giancarlo Esposito, and Dianne Wiest. Rabbit Hole is a somber yet touching film from John Cameron Mitchell and company.

It’s another day for Becca (Nicole Kidman) and Howie Corbett (Aaron Eckhart) as they stay at home not wanting to go to any parties or social gatherings. Though Becca later gets a call from her trouble-making sister Izzy (Tammy Blanchard) who got arrested for assaulting a woman at a bar. The big news is that Izzy is pregnant with that woman’s ex-boyfriend named Auggie (Giancarlo Esposito). Still, it’s another thing Becca has to deal with as she and Howie are still dealing with the death of their 4-year old son Danny (Phoenix List). The grief has led to a lack of communication for the two as they try to deal with it through group meetings led by Kevin (Stephen Mailer) and Gabby (Sandra Oh).

Unfortunately, Becca chooses to leave following a couple’s discussion about their own way in dealing with grief as she is trying to move forward. Still, offering to give Danny’s clothes to Izzy and trying to get back to work as an executive hasn’t done anything. During Izzy’s birthday party that is attended by their mother Nat (Dianne Wiest) who wants to give Becca some advice. Becca isn’t interested as she and Howie are unable to really talk to each other as he goes to group and continue working. Instead, she follows a teenage boy named Jason (Miles Teller) which eventually led to the two finally talking about what happened.

Meanwhile, Howie begins to befriend Gabby during group meetings as a way to deal with his own grief after learning that Becca had deleted a video in his iPhone despite her claims it was an accident. Even as he learns why Kevin hasn’t been showing up in meetings. Following the decision to sell the house, Jason makes an unexpected appearance leading to more drama between Howie and Becca. Even as the two ponder what are they doing for themselves and what is next for them.

The film is essentially about a couple trying to deal with grief and how they react to the death of their 4-year old son through a car accident. Yet, the film’s writer and original playwright David Lindsay-Abaire is more concerned about the way this couple reacts not just to the things around them but how they’re dealing with the loss they’ve suffered. For Howie, it’s all about watching a video on his iPhone, trying to work, and go to group meetings to just try and move on. Becca however, has a much harder time as she seems cold, angry, and not wanting to move on as her attempts don’t work. Instead, she turns to a teenage boy with a strange fascination with science as he writes a comic book.

The story does start off slow since it was deliberate so that audience can understand how characters behave when they’re dealing with grief. Even as it becomes clear that it’s not an easy thing to go through where Becca is annoyed by her group meeting because a couple talks about angels. For Howie, Becca’s behavior becomes embarrassing as he would later embarrass himself at a meeting through a different form of behavior. Even as they would both go into their own individual journeys to find some form of comfort or someone they can talk to. For Becca, it’s Jason and for Howie, it’s Gabby.

Director John Cameron Mitchell’s approach to the storytelling is definitely very intimate but also in a very theatrical setting. Shot on location in cities near New York City, Mitchell’s approach was to broaden the play by setting it in a small-town, suburban world while maintaining its focus on the characters. Even as he creates broad yet straightforward compositions to the way characters interact while being subjective in scenes where the camera is at the group meeting as an attendee.

One of Mitchell’s most notable moments as a director is the way he presents the scene where the moment of Danny’s death happens. It’s in a stylized approach but presented not in a sensationalized nor graphic presentation. It’s also in how it inter-cuts with the moments that Becca and Howie are having individually. It’s clear that Mitchell is becoming more confident and refined as a director. Even in the way he just lets the acting do the talking without over-playing or under-playing scenes. Even in finding some semblance of humor for the film as he reveals that when it comes to grief. There are no easy answers as it’s tough to get through and eventually, they move on. Overall, it’s Mitchell at his most mature as he is becoming one of the most interesting filmmakers working today.

Cinematographer Frank G. DeMarco does excellent work with the film‘s lush, springtime look of the film with its green grasses and trees along with bluish shots for some of the film‘s exterior evening scenes. For the interior scenes at night, there’s a wonderful dark-yellow look that plays to the somber tone of the film. Editor Joe Klotz does some fantastic work with the film’s methodical yet straightforward editing. Even in creating some rhythmic cuts for the film’s intense, dramatic moments along with the flashback montage of Danny’s death.

Production designer Kalina Ivanov, along with set decorator Diana Salzburg and art director Ola Maslik, does an amazing job with the film‘s look for the home of Becca and Howie with its upper-middle class look and feel along with Danny‘s room. Even the artwork such as Jason’s comic book is a real highlight of the film since it does play to what Becca’s character is looking for. Costume designer Ann Roth does a real good job with the costumes from the street-like, youthful clothing that Becca’s sister Izzy and her boyfriend Auggie wears to the more casual, clothing that Howie and Becca wears.

Sound editor Benjamin Cheah does some good work with the sound work from the atmosphere of the bowling alley for Izzy‘s birthday to the intimate scenes of the park and group meetings. Music composer Anton Sanko does a wonderful job with the film’s plaintive yet somber score with soft strings and a piano. Notably with some melancholic tracks to play to the dramatic tone along with music from Al Green, David Soul, and others played quietly throughout the film.

The casting by Sig De Miguel and Stephen Vincent is magnificent as it’s definitely one of the film’s highlights. Notably with appearances from Jon Tenney as a friend/co-worker of Howie, Patricia Kalember as a neighbor, Jay Wilkison as a former co-worker of Becca, Phoenix List in flashback appearances as the late child Danny, and in the varied roles of the group meeting attendees, Rob Campbell, Yetta Gottesman, Colin Mitchell, and Deidre Goodwin. Stephen Mailer is pretty good as Gabby’s husband and group leader Kevin while Giancarlo Esposito is excellent as the lively, fun Auggie. Tammy Blanchard is wonderful as Becca’s brash though grateful sister Izzy who finds herself at the wrong places in the wrong time whenever her sister acts out.

Dianne Wiest is great as Becca’s mother Nat who tries to give Becca some advice while saying some strange things as Weist really brings humor and depth to a character that understands grief. Sandra Oh is superb as Gabby, a mother in mourning who becomes friends with Howie as she is revealing to be in pain for something other than the loss of her child. Oh brings some needed humor to the film as she displays the things people need when they want to get back into the real world with such a calm, carefree performance. The film’s biggest surprise is newcomer Miles Teller as Jason, a young teenage boy who is traumatized for what he’s done while becoming a companion for Becca’s own personal journey. Teller’s quiet yet mesmerizing performance is definitely one of amazement as the chemistry he has with Nicole Kidman is fascinating where he manages to be equals with her.

Aaron Eckhart delivers what is definitely his best performance to date as Howie. Eckhart plays a man who is trying to move on and attend group meetings while wanting the memories of his son around him. Yet, when he sees that those reminders are being removed and has a hard time trying to move on. It’s a remarkable role for Eckhart who often plays creeps or crazy men as he allows himself to be vulnerable and sympathetic.

Finally, there’s Nicole Kidman in what is definitely her best role since Lars von Trier’s 2003 film Dogville. After a period of some uninspired roles in mainstream films to vanity-driven performances in art-house projects. Kidman returns to form as a grieving mother trying to move forward while wanting to get rid of the pain she’s feeling. It’s a raw performance from Kidman where at times, she acts like a bitch and lash out at people. Then, there’s the quiet moments where she doesn’t go into theatrics and just be calm. Particularly her scenes with Miles Teller that really shows Kidman at her best. Overall, it’s a film that reminds audience why Nicole Kidman is a great actress.

Rabbit Hole is a haunting yet intriguing film from John Cameron Mitchell that is led by fantastic performances from Nicole Kidman and Aaron Eckhart. Fans of Mitchell’s work will find this to be his most conventional and least radical work of his career. Still, it is also his most mature work to date as he is refining his work as a director. Audiences looking for a drama that deals with grief will find this film as something more realistic and engaging though it does start off slow. In the end, Rabbit Hole is a superb and mesmerizing drama from John Cameron Mitchell.

John Cameron Mitchell Films: Hedwig & the Angry Inch - Shortbus - How to Talk to Girls at Parties - The Auteurs #66: John Cameron Mitchell

© thevoid99 2011