Whiplash – Final Concert
At its core, Whiplash is a film about pushing yourself beyond what is expected in order to become one of the “greats” at something. This theme is on display throughout the entire film as J.K Simmons portrays an insensitive, crude, and confrontational jazz instructor. It’s for good reason though; to bring out the best in his students. Only that way can a true master at an art-form rise.
His most prodigious student by far is played by Miles Teller, but they unfortunately have a falling out with each other. It’s not something I’m going to delve into too much here, as what’s most important is that it sets up a final show-down between the student and his mentor.
Seething with rage and seeking revenge, J.K Simmons tricks Miles Teller into performing a piece that he does not have the musical sheet for. To make matters worse, there is a highly respected critic watching the concert, who could make or break the career of Teller. Completely aware that he is fumbling his way through the song, Teller attempts to switch it up and play Whiplash.
What proceeds is an enthralling and riveting drum solo where Teller perfects every little nuance that J.K Simmons had been screaming and pestering him about up until now. Lasting roughly 5 minutes, the scene may as well be the very definition of exciting, but it’s not just because the musical performance is awesome to watch. This is the moment where the two finally reach a mutual respect, and furthermore, the student makes the master his bitch.
– Robert Kojder
Gone Girl – “Crepe?”
David Fincher’s Gone Girl is a dark and disturbing stream of questionable morality and horror that constantly catches the audience off-guard, and keeps them guessing. Never really feeling sure where the twisting tale will head next, viewers can only hang on and wait for the nightmarish events to play out.
By the time we reach the third act, we are floored. The film has flipped over on itself, our assumptions are blown out of the water, and the grim reality of the situation has become startlingly clear. We are, in effect, feeling exactly the complex mix of emotions that are played across the face of Nick Dunne (Ben Affleck) as he walks into the kitchen of his marital home to see Amy (Rosamund Pike) at the stove. He approaches slowly – shell-shocked by the events of the past few days, and by the vast amount of knowledge he now possesses about his wife.
The scene lasts just a few moments, but carries the weight of the entire film thus far. All of that dishonesty, mistrust, bitterness, pain, violence, horror and revelation has led us here – to this kitchen that is blasted with light, and feels chillingly cold and clinical. Amy has been revealed. He knows who she is now, and he knows what she is capable of. As he walks into the room to see wife cooking, we know that it has previously been a welcome sight. Now, in this moment, he is looking at an abomination – an abomination that is perfectly turned out, and in full control. She looks up, meets his gaze and smiles a breezy smile.
“Crepe?”
– Sarah Myles