Review: Whiplash

Year: 2014 (U.K Release 2015)
Director: Damien Chazelle
Screenplay: Damien Chazelle
Starring: Mills Teller, J.K Simmons, Paul Reiser, Melissa Benoist

Synopsis is here:

As cold and bitter as January can be, the month is one of my favorite times of the year. After the first week of sales, a stroll into town is a relatively clam experience. It's the month of my birthday, which makes drinking gin with a large group of gin feel extra special. However, the biggest reason of my love for January, of course boils down to going to the cinema. It's at this time when, the due to the Oscars, the more "prestigious" films find their way into the multiplexes. To me it just means we have an influx of films which are a tad more adult, and with the current cinematic trend feel much like childhood nostalgia running rampant for so much of the year, it brings substantial relief.

A grand amount of alleviation can also be found once we get to the final moments of Whiplash. The film from the start is so tightly wound you can tune it with a fork. Once the film finally cuts to black and delivers the end credits, there was a feeling of exhalation that flowed out of me, as if someone had finally cut a noose from around my neck. We often consider Jazz as unhurried and easy going. Whiplash decides to take the world of Jazz and turn it into a psychological battlefield. An aggressive battle of odds between student and mentor.

Fans of Jazz as a musical genre have argued with where the film is coming from, much like the ballet dancers who complained about how Black Swan didn't highlight their art form in a positive light. Whiplash is not playing in the same wheelhouse as American Sniper, looking at decidedly weighty subjects based on true events. Although loosely inspired by a teacher that writer/director's knew at his time as a Jazz Drummer in high school, the film is more indebted to something like Rocky (1976) rather than realism. The fact is Whiplash never delivers itself as an absolute truth, it only wishes to tell an entertaining story, and does so with aplomb.

Despite having a narrative leaner than supermarket mince, Whiplash is a neatly realised and textured drama. Damien Chazelle details his film with just the right flourishes to give the drama the right edge and to have us invested in its characters. From a foot touching another during a first date to the beads of sweat leaping of the symbols when they're hit. The film brings a rich range of characteristics to envelop us into its world, ranging from bleeding plasters, to battered and bruised hands hitting iced water. Even the contours and veins on Simmons' face. Such small moments make sure that the film, while simple in its plotting, speak volumes.

Miles Teller turns down his more comical tics for a subtly sensitive performance. Giving the type of arrogant straight man performance that goes unnoticed during award season until it's too late. It's a role of heavier lifting than we give it credit for. Playing an instrument convincingly (to a Layman), as well as providing a relatable and naturalistic performance throughout. He also has to be the right combative foil for the viper that awaits him in the other corner. J.K Simmons, as teacher Terrance Fletcher, is a near impenetrable ball of rage. A man sick of mediocre talent being passed off as "good enough", nearly every word that froths from his mouth is a well-oiled put down. Every glance, a look of contempt. Do don't just play in rhythm, you have to play well. You don't just play well, you play beyond. Fully embracing a role that only he was born to play, Simmons' is on fearsome form as Fletcher, a man who strikes nerves by merely grasping at air. This central "relationship" is the jewel of Whiplash as you wait to see who may crack first.

As stated, we're not going to Whiplash for the exact truth, and yet looking at Simmons' intimidating tutor only had me contemplating how many people had a teacher like this. I remember mine looking similar to Simmons and held similar ferocity. There are (or were, if we are to believe parents nowadays) teachers such as Fletcher, who can only gain the results they acquire through fear and thunderous displays of dominance. One of the scariest things Chazelle brings to the table is the idea that as much as we dislike Fletcher's methods or try to disbelieve in them, when his reasons are explained, it's tough not to see it on his side.

 That said, when the one of the film's most pivotal piece of information is revealed further along the line and defenses appear to be knocked down slightly. The outcome of the issue feels almost like a shrug. It's hard not to think of the term to make an omelette you have to crack a few eggs, although the eggs we're dealing with a lot more delicate.

Yet, due to Whiplash being a force of nature the film powers through. The sheer drive of these characters is what makes the film so appealing. Despite the preposterous nature the film sometimes delves into, the exhilaration of the film's final 20 minutes brings, in which we see the stakes both mentor and student at their highest, makes the films more extravagant elements all the worthwhile. It's only in the Whiplash's final moments when we the connection between two people in complete sync, do we get the feeling that we can breathe once more. Jazz has never been so thrilling.

Review: Noah

Year: 2014

Director: Darren Aronosfsky 

Screenplay: Darren Aronofsky, Ari Handel

Starring: Russell Crowe, Jennifer Connelly, Ray Winstone, Emma Watson, Anthony Hopkins, Logan Lerman

Synopsis is IN THE BIBLE

I found Noah to be a dreary experience. Many fellow writers managed to gain something out of its more unhinged qualities; I needed more than the films deranged tone to keep my interest levels up. I do not consider it bonkers because it’s a religious text. For instance, the screenplay wisely eliminates problematic elements such as Noah’s age (in the Bible he nears 1000 at time of death) to level things out slightly. The film however, suffers from a troublesome tone throughout which is always hard to ground. Noah as a whole feels fantasy-lite, almost placing it in the same realm as Aronofsky’s equally barmy, but far more entertaining Black Swan.

Aronofsky has stated that Russell Crowe was cast to give the film the type of grounding a film such as this sorely needs. Crowe struggles with this and not due to his talents. This is a screenplay that flies into full The Shining mode during the last act of the film. Aronofsky’s adaptation of the text is clearly written with the audience in mind. Here Noah’s inner conflict stems from how he interprets his Lord’s message. If God (named The Creator in the film) wishes to end the wicked world of Man, does that include Noah and his kin?  Like Aronofsky’s earlier works (Pi, Black Swan, Requim for a Dream) Noah is a film where the protagonist’s obsessions slowly get the better of them. It certainly fits into Aronofsky’s wheelhouse thematically. It is just far too tough to get past the film’s meandering pace, awkward time lapses and outlandish skylines. Along with its bizarre rock monster/Angels that feel like they’ve wandered off a Tolkin text.

Noah simply does not have what made The Passion of the Christ so strangely compelling. No matter how you feel about Mel Gibson and his project, his visualisation of the message (even if it’s just guilt tripping you into his faith) is stronger than what we see here. The visions expressed by the likes of Judas had more conviction and the films characters felt more authentic. To quote Kayne; I’m not here to convert atheists into believers. Nor am I siding with those with faith, looking for a fully accurate piece devoted to the original text. Noah shows its weaknesses however, not only by having Anthony Hopkins come across as an older version of Woody Harrelson character in 2012, or by the amusing miscasting of Ray Winstone. No, Noah feels it’s the right decision to under develop the role of Jennifer Connelly’s Naamah. Connelly’s soft, subtle performance is the kind of grounding Noah needs in spades. The film’s cautious view of such a character makes sure that Noah remains a cult drinking game footnote more than anything else.  

Review: Magic magic

Year: 2013

Director: Sebastián Silva

Screenplay: Sebastián Silva

Starring: Juno Temple, Emily Browning, Micheal Cera

Synopsis is here

A film that is destined to polarise the audience with its abstractness, Magic Magic is a film that will take people to the brink of irritation or sympathy but if it gets one thing right, it’s the fact that it doesn’t wait around for you to get your head around it.    

Set in Chile, Magic Magic is a thriller plays with cultural arrogance in the same vain as Repulsion or Frantic, yet seems influenced by the fractured psychology of Polanski’s most famous features also. Here we have a woman who is culturally and emotional isolated amongst a group of people too juvenile and ignorant fully understand what may be at play. The film can feel distant as there’s no sign posts telling you where to go, but even when the film treads on the line of obtuseness, the basic aspects of the narrative is simple enough to follow.  As a whole the film doesn’t pound its note as hard as Aronofsky (Black Swan) or hold the pomp of Von Trier (Melancholia), but it understand simple dreads and fragile emotions with an assured deftness of touch.

The island, in which the film is set, becomes the largest signifying aspect, morphing into a physical and emotional quarantine for the pale faced Alicia (a brilliant Juno Temple). One scene has Alicia out with her new found friends as they go cliff jumping. All except Alicia are able to jump in. She is quite literally unable to take her feet of the island, a place which has brought forth a huge amount of disconnection to her. Like Polanski at his best, the island slowly shapes itself into a prison.  Cinematographer Christopher Doyle takes centre stage here, capturing the off kilter mood with near perfect composition, and shooting the landscape in such a way that even nearby animals take on ominous presence with their gaze.

The films main strength is in how it maintains its tone throughout. The ambiguous nature of the film is kept in balance due to Temple’s fragile performance. It becomes apparent that the film subtly changes from a more conventional thriller with horror tropes into a subtle cry for help. We are once again seeing yet another “delicate woman in trouble” and Magic Magic doesn’t reach the same heights as the likes of Amer, Black Swan or Carrie But Temple keeps us engaged throughout. Having such strong casting in place, makes the “woman in peril” such a sticking point in cinema.

Cast-wise; it will very likely infuriate more casual viewers that the film cares little about the fact you may know these actors from Harry Potter, Superbad or otherwise. That said I'm not shocked to see Emily Browning in this considering her work in The Uninvited/Sucker Punch. Michael Cera does well with a one note performance.  

The pacing is a little wayward and the film doesn’t really push anything in the way of originality. However Magic Magic is a nightmare film which unsettles well as it toys with the lead’s fractured state. Magic Magic will only really turn on those with a particular taste for these things. The films conclusion can possibly leave you aggravated, but only if you don’t fall for Doyle’s beautiful camera work and Temple‘s display.

Review: Black Swan

Year: 2010
Director: Darren Aronofsky
Screenplay: Mark Heyman, Andres Heinz, John J. McLaughlin
Starring: Natalie Portman, Mila Kunis, Winona Ryder, Vincent Cassel, Barbara Hershey

Synopsis is here

They are usually naive, sometimes obsessive and often talented; Darren Aronofsky's characters are self-assassinating creatures. We feel pity for them as they constantly cry out for help; be it drugs, fatherhood, or even the very source of life itself. The problem is their reclusive characters and obstructive behavior not only block us from helping them, but keeps them on the path of destruction.  Aronofsky has explored such people from low budget gritty dramas to high end sci-fi but never before in a horror film setting. Black Swan is his first and for me it may well be his opus.

Once again using the single camera, documentary style utilized before in The Wrestler, the visuals not only detail the brutal and tough preparation that goes into ballet, but the evocative close ups; constantly hint and suggest worry that we can't put our finger on. Aronofsky's lingering close ups of Nina's (Portman) exhausted and fretful face not only highlight the pressure that is placed on her, but also adds tension as Aronofsky encloses the space around Nina. We don't visit that many locations in Black Swan (Nina's strict routine regulates us mostly to her bedroom and the studio) but it's easy to forget this as the film wraps everything so tightly around Nina. Not only do we think that Nina is trapped in her own world but Aronofsky's camera makes sure that we feel the walls are craving in. Of course, these walls are metaphorical. Nina; whose bedroom's is covered in pink wallpaper and cuddly toys, shies away from sexual talk, and is acutely aware of the sexuality of others and doesn't appear to have any friends within the company. She is socially awkward and despite being in her twenties, one is not surprised at her mothers watchful eye over her at all times.

I felt with Nina throughout the entire film; experiencing very punishing routine, stretched muscle and tight joint. But it's not just the claustrophobic cinematography that keeps you close, but also Portman's mesmerizing performance. From when we first see her, it already looks she's on the verge of burnout. A little girl trapped inside the body of a woman. A compelling performance due Portman's ability to balance Nina's drive with her immaturity. Throughout Portman holds a fearful, childlike gaze to everyone she encounters. Answers back are mumbled while childish outbursts slip out by outside stimulus. This encapsulated world is clearly created by a domineering mother (a perfectly cast Barbara "The Enity" Hershey) and Nina's newly gained promotion installs a fight against her, she never felt she had. The relationship between the two; to me, feel very reminiscent of Carrie and Aronofsky's direction carefully teases the psychosexual aspects in many scenes. Portman is also spot on with the films later scenes as psychical pain breaks down into psychological. A good performance becomes a great one as the melding of sexual awaking, social isolation and grueling routine explode into a dazzling, liberating, final display as Swan Lake is preformed.

It is the films final, unbelievably tense third where everything comes together brilliantly. The sound design ramps up and the music becomes thunderous,  the visuals that only tricked you slightly in earlier sections come at you in full force to assault you. There are horror tropes that have been used throughout that would come across as cliche in lesser films, but are extraordinarily manipulated here. Arononfsky understands that the best horror comes from very simple and primal things, breaking Nina's natural order with exhaustion, further isolation and of course fear of the other. With all this said; I still haven't mentioned Mila Kunis' sultry performance as Lilly, which illustrates a fear of sex that Nina cannot understand. Nor have I spoke about the devilishly sleazy Thomas Leroy. Cassell clearly relishes a role like this and once again like so many of his displays, plays it pitch perfect. 

Stunningly shot and unbelievably tense, I was completely bowled over with Black Swan. Early reviews have mentioned it's audacity and ambition and it's those very things that make it stand out. It's not cookie cutter, it breaks the machine.