Whiplash (Damien Chazelle)

[Dukefrukem]

I. Absolutely. Love. That. Analysis. 8.

[transmogrifier]

I don't like the movie, but yeah, it's obvious the kid is meant to be a total dick.

[Dead & Messed Up]

The whole movie seems to me more like a portrait of two socially maladjusted people who are content with creating puffed up delusions about themselves by focusing their anger and dissatisfaction at each other. The movie ends with them collaborating on stage not because it's a moment of victory, but because there's literally nowhere else for them to go.

This. On RT I called it a romance about two obsessive maniacs who find and deserve each other. The performance at the end is their version of sex.

[Pop Trash]

I mean...I'm racking my brain trying to figure out a scenario where Fletcher wouldn't be fired after a few months, or even a few weeks. I guess it's possible, but having worked in higher ed, it would be a huge stretch.

[slqrick]

Saw this really late so don't know if anyone cares about this movie anymore. One of the best things I've been in a while. Thought it was really well done the way they subtly (and often times not to subtly - which is why those scenes with the girl made absolute sense) hinted at the kid being on the spectrum.

Does everyone still love this or is this like Looper, which I don't see the internet mention much anymore.

[Dead & Messed Up]

Saw this really late so don't know if anyone cares about this movie anymore. One of the best things I've been in a while. Thought it was really well done the way they subtly (and often times not to subtly - which is why those scenes with the girl made absolute sense) hinted at the kid being on the spectrum.

Does everyone still love this or is this like Looper, which I don't see the internet mention much anymore.

I liked it more and more, to the point that it's my favorite film of last year. I see it mentioned quite a bit on Reddit.

[DavidSeven]

Conflict is drama, and this certainly has it in spades. Making the protagonist a borderline sociopath mirroring his antagonist was an inspired touch and a tricky element to pull off. It thankfully avoids the trap of devolving into trope-y "there's more to life" idealism. Ultimately, however, I'm not sure there's more here than pure tension. Every scene featuring Andrew and Fletcher going at it is pin-droppingly taut, but I'm not sure the other emotional beats really land. Andrew's interactions with both his father and girlfriend are woefully underwritten and/or inconsistent. It seems the father is intended to be extremely paternal one moment, and in the next, he's ruthlessly throwing verbal jabs at him over dinner. (I get he was being an asshole, but what?) Each scene with the girlfriend feels like plot-point fulfillment rather than organic creation. Character doesn't really exist here outside the two leads, but honestly, the conflict present whenever they're in a room together is so good it almost doesn't matter. If nothing else, it is a compelling example of how an entire feature can be more or less carried by two guys in a room arguing over tempo.

[Ezee E]

The parts with the girlfriend and parents sure seem like something that got developed out of "script notes" or "reviews."

[Sycophant]

True. But at least it gave me some Paul Reiser time.