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Oct 08, 2014 By Stephen Danay Web Exclusive

Andrew Neyman has come to Manhattan’s prestigious Schaffer School of Music with one objective: to become one of the greatest jazz drummers of all time. His instructor, the ruthless Terrence Fletcher, will see his dream realized, or one of them will die trying.

Expanded by writer/director Damien Chazelle from his short film of the same name, Whiplash takes the student/mentor formula so frequently found in uplifting sports dramas and ratchets up the tension and the anger until it becomes something bordering on a psychological thriller. Chazelle walks a fine tonal line, with editing and camera work reminiscent of old Hollywood musicals and cinematography on par with the better modern indie films set in New York. His camera captures the intensity of the film’s jazz and big band music by not shying away from the literal sweat and blood that goes into making it.

The true showstopper of the film is the relationship between Miles Teller and J.K. Simmons. As Andrew, Miles Teller uses his “second-coming-of-John-Cusack” vibe to great effect, luring the audience in as a hard-working, sympathetic kid who allows himself to be slowly poisoned by his ambition. As Fletcher, J.K. Simmons transforms his usual comedic bluster into something truly menacing. Head shaved to a shine and never clad in anything but black, Fletcher is drill sergeant by way of crazed artist and one of the best cinematic villains of 2014.

While the mental power play between Andrew and Fletcher is portrayed as physically and emotionally damaging, the film remains ambiguous as to whether such sacrifice is justified in the pursuit of greatness. Some viewers of Whiplash may find it morally suspect, but after a final act that grips you by the throat and doesn’t let go, it’s doubtful they’ll mind.

sonyclassics.com/whiplash

Author rating: 8/10