Oscar Editon Part 2: Whiplash Comes in with a Crack and a Bang

Director: Damien Chazelle
Written by: Damien Chazelle
Genre: Drama
Starring: Miles Teller, J.K. Simmons, Paul Reiser
Distributed by: Sony Pictures Classics
Release Date: October 10, 2014
My Rating: 9/10

I haven't seen a film like this in a very long time. Damien Chazelle, a 30-year-old French-American Harvard grad, writes and directs this emotionally raw and intense drama about a young drummer at a prestigious music school. The film is loosely based on Chazelle's own experiences playing in the Princeton High School Studio Band.

Whiplash tells the story of Andrew Neiman, a 19-year-old first-year student at the fictional Shaffer Music Conservatory in New York City. There, he joins the jazz band/ensemble as a drummer and begins his instruction under the merciless conductor Terence Fletcher, who uses both physically and emotionally abusive intimidation tactics to push his students to their full potential.

Determined to one day become as renown a drummer as one of his great idols, jazz legend Buddy Rich, Andrew endures mental, emotional, and physical pain to reach his goal, suffering through Fletcher's humiliating teaching methods along the way.

For any great jazz fans or music fans in general, let one thing be clear: this film is not merely about jazz music. The music is great, and the various band instruments' sounds are meshed together beautifully, as evidenced by the Oscar win for best Sound Mixing. However, the focus of the story seems to be much more centered on the student-teacher relationship, and how it gradually develops into one that becomes not only unprofessional and inappropriate but disturbing.

JK Simmons delivers a frightening, Oscar-winning performance as the villainous and almost psychopathic band conductor Fletcher. Simmons's ability to embody a character who does not appear to have a single good bone in his body is astounding, not only during his loud scenes but also throughout the scenes in which he appears more calm and composed. Simmons' voice, facial expressions, and movements all help bring to life this ruthless character who, much like Malcolm X, appears willing to achieve his goals by any means necessary.

Personally, I couldn't help but not only feel horror and hatred toward this character, but also a sort of frustration at the flaws in the logic and arguments behind his teaching style. For example, he states that if you don't push a musician to their limits, you could be depriving the world of the next big music star. First of all, that young musician may not have the potential to be the next big star, and even if he/she does, insulting and humiliating that person may eventually cause that person to feel LESS motivated to improve, depending on their personality. I understand what Fletcher is trying to say when he says "There are no two more harmful words in the English language than 'good job,'" but that is a stupid assertion nonetheless. Why? Because constructive criticism and positive reinforcement exist.

I apologize for this long and blatant tangent, I just needed to vent some of my frustrations about this character who has clearly never heard of the Pygmalion Effect. It's safe to say that any conductor who throws a chair at a student and proceeds to slap him multiple times for making a mistake like getting the tempo of a tune wrong requires some serious counseling. Not to mention a teacher who is also constantly hurling homophobic, racist, and otherwise insensitive personal insults at students in the misguided belief that there will be no repercussions.

Despite his lack of any major award nominations, Miles Teller also demonstrates his extraordinary talent as an actor in this film. It appears difficult to not like his character, not only for his initial innocence, but for his courage and perseverance under this maniacal conductor's teaching style. The wide range of emotions that Teller conveys through his voice and facial expressions is impressive.

The occasional fast-paced scenes or montages, accompanied by the vibrant jazz music that provides the backdrop for the story, all help to set the dark and stressful tone of the film. The dim lighting/contrast and close-ups of Miles Tellers and the other drummers' sweating and contorted faces, as well as their bloody hands clutching the drumsticks further help to emphasize how these young musicians, and especially Teller's character, are literally being pushed to their physical limits. (Yep, you read that correctly, there is a surprising amount of blood in this film for a story about a drummer)

My one criticism of the film is that there is one scene in particular (or two successive short and quick scenes) that does not seem very plausible or realistic due to what has happened previously in the story. I will not divulge what this scene for fear of spoiler alerts, but I will only say that it represents a turning point in the film which I think those who have seen the film will immediately recognize. I will only say that it involves an incident from which the character emerges less physically harmed than one would expect. This scene also culminates in a brief violent altercation, which again seemed too forced and overly dramatic.

Nevertheless, one thing is for certain: Whiplash delivers a visceral blow that will leave you shocked beyond belief. But don't worry: thankfully, the film ends on a good note (pun intended), even if the final outcome is not revealed until the last few seconds. A glimmer of hope remains at the end of this dark story and helps show how tenacity can in fact lead to satisfying results. In the end, I think that this is the main point that Whiplash is trying to make, by telling this simple, not convoluted, yet incredibly powerful and poignant story. Any musician, athlete, or any type of young apprentice who has ever had a teacher like Terence Fletcher will surely be able to relate to this young drummer on more than just one level.





   

Special Oscar Edition: Birdman (or The Unexpected Virtue of Ignorance) Soars High and Swoops

Director: Alejandro Gonzalez Inarritu. 
Genre: dark comedy/dramedy
Starring: Michael Keaton, Emma Stone, Edward Norton, Zach Galifianakis, Amy Ryan
Distributed by: Fox Searchlight Pictures
Release Date: October 17, 2014
My Rating: 9.5/10

Since it just won the Academy Award for Best Picture (and Best Director), and was without a doubt my favorite movie out of all the films nominated for Best Picture that I've had the opportunity to see, I figured I would write my own personal take on this brilliant film.

The film tells the story of Riggan Thomson (Keaton), a washed-up screen actor who was formerly known for playing the iconic superhero Birdman three times many years prior. Now, in an attempt to revamp his career and hopefully garner more respect and prestige as an actor, Thomson decides to mount a Broadway adaptation of Raymond Carver's short story "What We Talk About When We Talk about Love."

In the process of directing and acting in this stage production, Thomson finds himself wrestling with multiple people, problems, and inner demons: his daughter and personal assistant (Stone) who has recently been released from rehab, his ex-wife (Ryan), his girlfriend, a famous and narcissistic Broadway Actor (Norton) who joins the cast of his play after his lead actor is hit by a light, and very skeptical critics (and one female critic in particular whom he meets in person and who mocks him). Thomson's greatest battle throughout the story, however, appears to be with himself, and more specifically with his own ego.

Birdman is an exceptional film, not only because of the story itself, but because of the camerawork and overall cinematography (which won cinematographer Emmanuel Lubezki the Oscar this year). The incredibly long, continuous takes that seem to follow the actors in one sweeping motion wherever they go (backstage, on the stage, on the streets of New York City, etc.) almost make the film itself seem as if it was shot in a single, equally continuous take. This type of camerawork could be dizzying to some, but it certainly adds to the story by making the audience feel as if we are in the film and part of the story, right beside the characters. The lighting (or lack thereof) in certain scenes is also very well chosen, and helps to emphasize certain lighter or darker moments in the story. There are also a number of very close shots (close-ups), especially of Keaton, that reveal every inch of the actors' faces in a way that accentuates their expressions and emotions that is very visceral.  

As for the story itself, the script is beautifully written, (as evidenced by its Oscar win for Best Original Screenplay) and it intertwines comedy and drama in a brilliant way. Michael Keaton may not have won the Oscar for Best Actor, but he certainly delivers an incredible performance as a former blockbuster movie star who is simply attempting to, as his own daughter so eloquently puts it, "feel relevant again," by managing the stage adaptation of this Raymond Carver story. (Carver is revealed to be one of Thomson's personal heroes, after the two met at the end of a play the latter did in his youth. Carver complimented Thomson on his performance and thus Thomson realized in that moment that he wanted to become an actor) Although we only get glimpses here and there of the actual play based on Carver's short story, it seems that the character that Thomson portrays in it is suffering from a personal crisis very similar to his own, ironically enough. 

Edward Norton is amazing as Mike Shiner, the supposedly renown, sharp-tongued and egotistical Broadway actor who joins Thomson's production and who, due to his personality, creates problems for Thomson and the rest of the cast and crew. Norton plays a drama queen in such a funny way that I found it difficult not to laugh or even smile at the tone in which he delivered some of his lines, even if his character is despicable. My personal favorite: "Popularity is the slutty little cousin of prestige, my friend." Emma Stone has one scene in which she displays remarkable talent as an actress (when you see the film you'll realize which one I'm talking about), although besides this scene her character appears to be vastly underdeveloped and thus makes me question why she was nominated for an Oscar, even if she didn't win. Personally, Amy Ryan delivered a much more noteworthy performance as Keaton's ex-wife, even if she got less screen time than Stone. Her character makes her ex-husband realize certain things about himself, his career, and his relationship with her and the other people in his life. 

Although it may also sound ridiculous at first, the voice-over of the Birdman character speaking to Thomson, egging him on to show the public what he's capable of, works in the sense that it very concretely demonstrates the inner battle that this protagonist is facing. It almost reminded me of other well-known fictional characters who struggle with this type of dual-personality/double-identity crisis. (Jekyll and Hyde, Smeagol and Gollum, etc.)  However, one of the few aspects of the movie that I did not like, and that seemed too contrived and overdone, were the scenes in which Thomson is shown levitating, flying or doing any sort of fantastical, superhero-like action. 

Birdman certainly tells a compelling story that probably reflects the career of many real, contemporary actors who were formerly known for playing iconic, superhuman characters and are now attempting to change the public's opinion of them, many years later in their career, by tackling entirely different types of roles that are "more human." The fact that Michael Keaton, who was famously known for playing Batman in the 1980s, was cast as the lead actor in this film, is no coincidence. If you're as big a cinephile as I am, you will appreciate almost every minute of this film. I may be biased because the director, Inarritu, is Mexican, but reviews and award shows say enough: Birdman soars high and swoops in to deliver a very entertaining story. Plus, let's face it, watching Michael Keaton parade through the streets of Time Square wearing nothing but his underwear (which Neil Patrick Harris so shamelessly recreated at the Oscars) is rather hilarious. Watching Keaton and Norton wrestling on the ground while also wearing very few clothes is even more hysterical. Or perhaps a little sad and pathetic to some. But mainly hilarious.            

Heaven Is For Real

Director: Randall Wallace
Genre: Family drama
Starring: Greg Kinnear, Kelly Reilly, Thomas Haden Church
Distributed by: TriStar Pictures
Release Date: April 16, 2014
My Rating: 7.5/10

This was a very uplifting film that I had the pleasure to see on Mother's day with my mother. It is based on the bestselling 2010 novel of the same name by Pastor Todd Burpo and tells the amazing true story of his son Colton, a 4-year-old boy from small-town Nebraska who recounted his visit to heaven to his father after a near-death experience.
After being rushed to the local hospital because of what they initially believe is appendicitis, Todd (Kinnear) and his wife Sonia Burpo (Reilly) begin to realize their son's medical condition is actually much more severe and fear he may not live. However, a miracle appears to save little Colton and the boy lives to tell the tale of how he went to heaven during his brief stay in the operation room during his surgery. Colton claims to have met Jesus, as well as a number of people from his family who passed away before he was born, including his great-grandfather and his sister who died during a miscarriage. Despite being very religious, Todd and everyone else in the small local community in Nebraska find all of his son's claims difficult to believe at first, but gradually Todd realizes that there is no reason for him not to believe his own son. With support from friends including a bank manager (Church) and other members of his parish, Todd Burpo strives to find meaning behind his son's journey to heaven.

This was a very refreshing story, with a very simple yet at the same time extraordinary plot. Unlike other religious films that capture many cliches about faith (or lack thereof), particularly the Christian faith like this one, I believe that this movie was so much more heartfelt-and this may sound crazy-because it was mostly told from the perspective of a very young and innocent child. Newcomer Connor Corum, who plays Colton, delivers an incredible performance as an adorable little boy who is determined to share his unique paranormal experiences with the world. I am always impressed by young child actors like this one who come along and bring so much heart to a tale that we can all relate to. (well, maybe the part of the story involving a child surviving a fatal disease or accident and not the more fantastical element of it anyway)

The Grand Budapest Hotel

Director: Wes Anderson
Genre: black comedy
Starring: Ralph Fiennes, Jude Law, F. Murray Abraham, Bill Murray, Edward Norton, Adrien Brody, Jason Schwartzman, Tilda Swinton, Tony Revolori
Distributed by: Fox Searchlight Pictures
Release Date: March 28, 2014
My Rating: 8/10

This is perhaps one of the strangest films I've seen in years. This dark comedy follows the story of a concierge named Gustave H. (Fiennes) who works at a luxurious hotel in Europe in the fictional Republic of Zubrowka, high up in the mountains. After he is framed for the murder of an elderly woman who stays at the hotel, Madame D (Swinton) Monsieur Gustave H. embarks on a wild journey with his loyal lobby boy Zero Moustafa (Revolori) to prove his innocence. The film features a series of crazy scenes, including a daring prison escape, a stolen painting, cable cars and a sled/ski pursuit, as well as numerous disguises.

This is the first film I have seen by Mr. Anderson, and although I was not convinced when the movie began, I left the theater rather satisfied. I have only seen a handful of dark comedies in my time but this is certainly one of my favorites. The story is simple, but the events that occur are a great thrill ride. Watching a renown dramatic actor like Ralph Fiennes (The Reader, Voldemort from the Harry Potter movies) play the lead role in this film that blends elements of both the serious and the absurd was refreshing, and he plays the part beautifully, as does newcomer Tony Revolori who plays his sidekick Zero. I was surprised by how violent and bloody some of the scenes were, nonetheless.

This is not a masterpiece of modern cinema in any way, but it is certainly a film worth spending time viewing if you are even remotely a fan of black comedies. If this is not the type of humor or intrigue you prefer, then I would strongly advise against it.

Gravity

Director: Alfonso Cuaron

Genre: Drama/Thriller

Starring: Sandra Bullock, George Clooney

Distributed by: Warner Bros. Pictures

Release Date: October 4, 2013

My Rating: 9/10

I know that this film is a few months old but since it snagged the highest number of awards at the Oscars this year (7), I decided I would offer my take on it. I finally got around to seeing it the other day, so here it goes for all those of you who haven't had the pleasure of viewing it, or who have and just wanna know what I thought.

This is undoubtedly one of my favorite drama films in recent years. It tells the story of medical engineer Dr. Ryan Stone (Bullock) on her first space shuttle mission on board the Explorer. Joining her is veteran astronaut and Lieutenant Matt Kowalski (Clooney), the leader of the journey. The mission control base in Houston warns the two astronauts that a Russian missile strike has hit a dead satellite, which has caused a chain reaction forming a cloud of debris. Mid-orbit, the Explorer begins to be gradually destroyed by the debris, causing Dr. Stone to separate from the shuttle and start hurtling into space. She and Kowalski momentarily recover, and converse as they travel through the vast unknown. Stone reveals that she once had a daughter who died in a tragic accident when she was only four years old.

The pair then reach the International Space Station (ISS) located several hundred miles away in orbit, but eventually the debris returns and as Stone's leg gets caught in her parachutes' cords, and she grabs onto Kowalski's suit. Despite her protests, Kowalski detaches himself from the tether to prevent her from drifting away with him. Stone is pulled back toward the ISS while Kowalski tumbles away. After several failed attempts at establishing communication with Kowalski, Stone realizes that she is the sole survivor. Stone battles several obstacles alone in the capsule, including loss of oxygen and a large fire.

The film is very short, just barely hitting the 90-minute mark for running time. However, it feels much longer due to certain sequences of non-stop heart-racing action. The special effects, dialogue, and score/soundtrack all spectacularly contribute to demonstrating the intense peril that the characters face, especially Dr. Stone in the second half of the film. This is precisely the type of movie that reminded me why Sandra Bullock is one of my favorite actresses, who is capable of portraying both wacky comic characters (Miss Congeniality, The Heat) and heart-wrenching protagonists like the one she completely immerses herself in in Gravity. The increasing terror she experiences throughout the film is practically palpable, particularly toward the end. The theme of coping with the loss of a loved one is also briefly yet beautifully touched upon. Golden Globe winner and Academy-Award-winning Mexican director Alfonso Cuaron (Y Tu Mama Tambien, Harry Potter & The Prisoner of Azkaban, Children of Men) brings to the screen an incredible story of fear, courage, and survival.

The story gave me quite a bit of hope in the end, despite keeping me paralyzed with fear for the majority of it. As I recently felt trapped and “paralyzed” for a brief moment, perhaps the most trapped and anxious I’ve ever felt in my life, this film left me feeling significantly more optimistic, as I’m sure it can for many others who have ever felt “stuck in quicksand” so to speak.

Non-Stop

Director: Jaume Collet-Serra
Genre: Action thriller
Starring: Liam Neeson, Julianne Moore, Michelle Dockery, Lupita Nyong'o
Distributed by: Universal Pictures
Release Date: February 28, 2014
My Rating: 8.5/10

Liam Neeson stars in this action-packed thriller about a US Federal air marshall named Bill Marks, who one day boards a plane with non-stop service from New York to London. After a few minutes on the flight, he receives a series of mysterious text messages from an unknown sender stating that he/she is a passenger on the plane, and that this person will kill a fellow passenger every 20 minutes unless $150 million are wired electronically to a bank account. Determined to find this hijacker at all costs, Marks begins as thorough an investigation as he can, enlisting the help of a woman sitting beside him on the plane Jen Summers (Julianne Moore), and a flight attendant named Nancy (Michelle Dockery). He also initially consults with a fellow air marshall, Jack Hammond as to which course of action to take with regards to the threat.

This is a role very similar to the ones Liam Neeson has played in recent years, recalling other box-office hits such as the Taken films and the 2011 thriller Unknown (also directed by Collet-Serra). Some audience members may tire of this gruff, relentless modern-day hero type but I think it fits this actor very well, and Neeson once again delivers a heart-pounding performance as an air marshall who, despite being suspected as the hijacker of the plane by many and for several reasons, risks a lot in order to restore security to the flight.
British actress Michelle Dockery (Downton Abbey) also brings a noteworthy performance as a terrified yet strong stewardess who is attempting her best to aid the air marshall to capture the hijacker.

The film is filled with suspense, and at first may seem like a very typical thriller reminiscent of movies like Air Force One (1997), but eventually unfolds in a way that is shocking. The plot twist in the final minutes of the film was completely unexpected. The final sequence, where the action is resolved, is rather intense, as is one of the passenger deaths. Although a scene or two could have been removed, since the middle portion of the movie appears to drag on for quite some time, the end proved to be very satisfying.

Dallas Buyers Club

Director: Jean-Marc Vallee

Genre: Biographical Drama

Starring: Matthew McConaughey, Jennifer Garner, Jared Leto

Distributed by: Focus Features

Release Date: November 1, 2013

My Rating: 8.5/10

Canadian Filmmaker Jean-Marc Vallee (The Young Victoria, 2009) brings to the big screen the true story of Ron Woodroof (McConaughey), a young electrician and rodeo cowboy from Dallas who is diagnosed with HIV/AIDS in 1985 after numerous sexual encounters with drug-consuming prostitutes and others. Told by his doctors, Dr. Sevard (Denis O'Hare) and Dr. Eve Saks (Garner) that he has only 30 days left to live, Ron initially reacts with aggression and violence, denying the possibility that he could ever contract such a disease. He lives much more than 30 days (several years), and quickly becomes ostracized by his co-workers and friends, who begin to suspect him of being gay, and is fired. After several days of suffering, Ron decides to return to the hospital, where Dr. Saks explains to him that a antiretroviral drug named AZT is being tested to potentially treat patients with AIDS and prolong their life. AZT is, however, the only drug that is at that time approved by the FDA, many other medicines being only approved in Europe. Saks goes on to explain that in order to test the effectiveness of the drug, half of the patients in clinical trials are being given the actual drug, and the other half a placebo. Ron continues to be frustrated, determined to find any cure as quickly as possible and begins a serious research investigation into his illness, taking extreme and even illegal measure from bribing a hospital worker to provide him with AZT and masquerading as a priest and importing non-FDA-approved drugs from Mexico across the border, and eventually starting his very own "Dallas Buyers Club" with Rayon (Leto), a drug-addicted transgender woman whom he meets at the hospital who is also diagnosed with HIV. At this illegal business, Ron and Rayon begin selling fixed monthly memberships to purchase non-approved drugs and it becomes a national sensation. The pair of ill men soon become pursued by the FDA, FBI and other federal government agencies determined to put an end to these illicit activities.

This film is a very powerful and poignant portrayal of one man's struggle and perseverance to do whatever it takes to be cured from this illness which, during the late 80s, was still very much a mystery and an anathema to many. Although the character of Woodroof initially appears like a vice-filled low-life who is also incredibly aggressive and gruff, his humanity eventually comes out and reflects itself in numerous ways, particularly in his growing friendship with kind-hearted and loyal Rayon, toward whom he is initially hostile due to his sexual identity. Both McConaughey and Leto are phenomenal, both deservedly earning an Academy Award for their visceral performances of two very distinct yet comparably strong individuals. Jennifer Garner also delivers a great performance as a woman who is on her own quest to right the wrongs and injustices that prevail in the way the medical industry treats special patients like those with HIV/AIDS.

Some of the things with which Ron Woodroof gets away with are at times difficult to believe, but many different obstacles arise throughout the movie that fuel his determination to be cured. The themes and subjects captured by the film may seem very harsh and some of the material outdated, but they nonetheless reflect many of the brutal realities that many homosexual, transgender, and HIV-positive individuals face on a daily basis still today. There is no denying that a man who ended up living seven years longer with this illness than licensed doctors initially predicted he would is a man who is nothing short of a miracle who serves as a precedent for multiple others afflicted with life-threatening illnesses.

As McConaughey would say, to this film I say "Alright, alright, alright!"