Whiplash

October 21, 2014

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It should come as no surprise that the Grand Jury and Audience Prize winning film of the 2014 Sundance Film Festival should traffic in territory of a recently successful film. In this case, Damien Chazelle’s Whiplash has more than a hint of “Black Swan but with jazz drumming” as it centers on a young artist in a relatively niche cultural market desperate to reach perfection. Despite the easy reductive write-off that so often afflicts Sundance favourites, it does impressively manage to sidestep the attempted-crossover crowd pleasing stories that the festival loves to promote, and it features filmmaking beyond handheld “capture the raw moment of drama” that is so pervasive and yet so hard to pull off. Whiplash is nothing new, but it’s well made and propulsive enough that it hardly matters, and if its insights fall into a kind of clichéd hard-bitten romanticism, at least it is committed to reflecting it with what’s on screen. Read the rest of this entry »

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Gone Girl

October 3, 2014

I don’t know how to write about this film without extensive spoilers, so watch the film before reading.

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Gone Girl runs from relationship autopsy to eerie mystery to chess match thriller to absurdist melodrama, all the while holding up a satirical flare and a cold, wily grin as it straddles it’s many tonal shifts. It’s one of the finest examples of craftsmanship of the year, and it’s also one of the most cynical motion pictures in quite some time. Read the rest of this entry »