While Whiplash isn’t perfect, it’s so close that it’s unforgettable.  A story about obsession and a strive for perfection with two standout performances and dazzling camera work that brings you closer to the musical playing than I’ve seen before.  There is so much to like about this movie including a finale that was the most dizzying and satisfying I’ve seen all year.  Director Damien Chazelle not only got the best out of his actors but has a great command of his story and this may be the only film you’ll hear me rave about the editing, which is superbly done and always keeps you close to the action.

Whiplash will probably be best known for J.K. Simmons’ performance and Oscar win for Best Supporting Actor.  His performance is definitely the centerpiece of the film and drives the action.  Simmons plays Terence Fletcher, an elite jazz instructor who has a reputation for putting together some of the best jazz ensembles at any cost.  That cost becomes clear as Andrew, played by Miles Teller, is brought in to play percussion and soon finds himself dodging insults as well as cymbals.  Simmons is a force and completely loathsome all the while playing the part with a gleam in his eye.  You can tell he is relishing every second of playing this character with exciting dialogue and scenes.  The mistake here however is focusing only on Simmons’ showy antagonist because Teller is equally as good.  Everything that Simmons does outwardly, Teller internalizes.  His drive and ambition won’t allow him to give an inch and his frustration and angst are palpable.  As we see their relationship transform and progress, the movie becomes a two-hander between two actors who are not only giving top notch performances but are also under the watchful eye and fantastic direction of Chazelle.

Music in movies can be a tricky thing.  How the actors are shot while performing and their believability can be a problem but Chazelle really excels here.  Whether you’re a fan of Jazz or not the music scenes are so thrilling because the camera never leaves the action.  There’s an intimacy to Chazelle’s camerawork as we move around the instruments and the players and Teller is excellent as we see the physical toll that his drive and pursuit take on him.  There is one scene that is a setup to drive the conflict that was a little too far fetched for me to completely get behind and Andrew’s relationship with his father felt somewhat underdeveloped but as the movie ends those feel like such minor setbacks to an otherwise outstanding film.  The fact that such a small film could make such a big impact on the Oscar race for Best Picture just speaks to its excellence.

Recommend? Without a doubt, see it, one of the best I’ve seen this year.