Whiplash 2014 * * * 1/2 Stars

Director: Damien Chazelle
Year: 2014
Rated R
Rating: * * * 1/2 Stars
Cast: Miles Teller, J.K. Simmons, Paul Reiser

I probably waited too long to see 2014's Whiplash. In fact, I have already comprised my list of top ten picks for said year. Regardless, if I had to revise things (which is something I don't normally do), this small yet loud Sony Pictures release would be right up at the top. I mean what a tantalizing title for a flick and even a cooler title for one about jazz drumming. One minute you're tapping your feet to its infectious groove. The next minute you are wincing and cringing at its mean spiritedness. Ultimately, Whiplash is powerful and heartbreaking. It's a cold sweat of movie, a real rat-a-tat-tat.

The storytelling starts out a little slow only to pick up mega speed. Andrew Neiman (played by Miles Teller) is a 19-year old student at the prestigious Shaffer conservatory (in New York City). He plays the drums and is ambitious as anyone who has ever walked through its doors. He wants to be one of the great musicians of the 21st century with Buddy Rich and Charlie Parker being his full blown idols. He's also fixated on just playing percussion and nothing else. Finally, he doesn't need friends, a girlfriend, or any type of support system in his life to get the job done. In his way however, is conductor Terrence Fletcher (played by J.K. Simmons, who riffs on a sort of bi-polar version of Lee Emery). He has a boot camp approach to getting his orchestra to play the type of perfected tempo he wants. A moody perfectionist, Fletcher berates everyone physically and mentally. He messes with their heads while pounding their fragile psyches into complete submission (there's a scene where he calls someone a worthless pansy ass, that's a new one). Basically, you fear him every time he enters a room. He is the main antagonist but I'd like to think of him more as a bandshell's version of Bill "The Butcher".

That brings me to the ending of Whiplash which is one that I can't quite describe. It's high tail and it's completely exhausting. Just think of the band Led Zeppelin and its late drummer John Bonham doing the solo to "Moby Dick". That might just give you a clue.

Anyway, kudos to the performances featured here. This is a total triumph for actors Miles Teller and J.K. Simmons. It's in an arena like you've never seen them before. J.K.'s persona as a loving dad in Juno plus the softy who does those Farmers Insurance commercials, gone! Teller's dopey characterizations from his plethora of forgotten romcoms, gone! J.K.'s Fletcher is a total hard ass, a real Nazi. Teller's Neiman is cut off from the outside world but in the end, he's a mad cymbal junkie incarnate, a real godsend. Together they make beautiful magic as actors and musical czars. Listen, I know this is a vehicle about excelling in an East Coast conservatory, but both of these characters are seen more as sergeants and privates than anything else. This isn't your normal drama, it's Full Metal Drum Kit.

Kudos also goes to the rousing level of film making for "Whip's" one hour and forty-seven minute running time. Director Damien Chazelle deals in a frenzy of close-ups whether it be the actor's faces, their bloodied hands, or just objects in general. He also provides Whiplash with a couple of whip/swish pans accompanied by the constant sounds of Jazz music (one of the oldest forms of popular music known to man). The film has a shadowy look, it's sullen. Watching every scene feels like you're in a wine bar or a darkly lit restaurant. And the editing which won a coveted Academy Award, is designed to put Neiman's character's romantic life and his relationship with his father (Jim Neiman played by Paul Reiser) off to the side. It then becomes strictly a two person character study, a mishmash of nurse Ratched and convict Randle McMurphy or Andy Dufresne and Warden Norton if you will. Whiplash's themed morality: Sometimes you need to go through hell to find success in what you do. It takes sweat and guts, hits and bruises to achieve greatness. The little people who lack ambition, are nice, and coddle you, matter very minimally in the grand scheme of things (yes I'm talking about Andrew's weak-minded father). Dare I say that this is the best movie of 2014. Whiplash has real "whip" appeal.

Written by Jesse Burleson

The Imitation Game 2014 * * * 1/2 Stars

Director: Morten Tyldum
Year: 2014
Rated PG-13
Rating: * * * 1/2 Stars
Cast: Benedict Cumberbatch, Keira Knightley, Matthew Goode

Unless you have been living in a dust bowl somewhere, you've probably heard more about British actor Benedict Cumberbatch with each passing day. He doesn't have your vintage, movie star looks and a 20 million dollar per-pic salary. He does however, give a sufficient, multilayered performance in The Imitation Game (my latest review). His real life character portrayal (mathematician Alan Turing) is the torn lovechild of Russell Crowe's John Nash from A Beautiful Mind and Jesse Eisenberg's Mark Zuckerberg from The Social Network. We're talking a tattered genius with a veritable secret shame to boot.

With a script by virtual unknown Graham Moore and a true story adaptation that's been kept in a vault for I guess, fifty years (according to the closing credits), The Imitation Game skillfully focuses on code breaking during the Second World War. Alan Turing, a timid yet intelligent pawn who's homosexuality ultimately led to his suicide by way of unfair persecution, is the chief codebreaker who designs a machine that no one and I mean no one, has ever seen before. Said machine succeeds in solving the Enigma Code (a method used to decipher secret messages in combative lore). Turing's posthumous contributions from what I've picked up, might have been the evolution of computer usage as we know it today. Government cover up? Maybe. Something that went completely over my head but in a good way? Oh ya betcha.

Right off the bat, The Imitation Game's look is glossy and it depicts the mid-1900's as anti-kitsch. With its perfected period detail, events are told in flashbacks over flashbacks with present day scenes occupying 10 percent of the flick's 114 minute running time. Although some of it is at times choppy, director Morten Tyldum gets away with Turing's disseminating journey anyway. In only his fourth effort behind the camera, Mort doesn't let his storytelling attributes fall into History Channel territory. He livens things up a bit with some solid, single edits. This keeps everything moving at a brisk pace. Basically, "Imitation Game" is to war what 2011's Moneyball is to sports. What we have here is fascinating, behind the scenes stuff. And like 1983's Wargames, this is a vehicle that doesn't need explosions, violent images, sexual innuendo, or harsh language to grab you.

As for the acting, it never relinquishes a false note. Matthew Goode as Hugh Alexander and Charles Dance as Commander Denniston are effective playing antagonists who butt heads with the Cumberbatch character. In regards to Keira Knightley, she holds her own in a supporting role as Turing's mild love interest (the lovely Joan Clarke). She underplays her role slightly until emoting with a damnable ultimatum in the last twenty minutes of the proceedings. It is an Oscar moment of glory and it's a beauty.

In retrospect, The Academy Awards are coming in a few days and it looks like Boyhood might clean house. What blasphemy. This is not a mediocre film by any means but it rides by on its fainted novelty (actors aging in real time over a period of 12 years). The Imitation Game on the other hand, is the archetypal choice, a logical winner for best picture 2014. Like the aforementioned A Beautiful Mind, this is something about a protagonist who was socially inept, had few friends, and harbored a secret which ultimately interfered with his brilliance as a human being. "Imitation Game" captures Alan Turing's plight in a sophisticated and caring way. Its got that historical aspect which provokes critics to give four star ratings. It also has the ability to tickle Academy voters with the same tutorial. In essence, this coup d'etat of an exercise doesn't need to "imitate" greatness. It accomplishes that feat all on its own.

Written by Jesse Burleson

Tusk 2014 * * * * Stars

Director: Kevin Smith
Year: 2014
Rated R
Rating: * * * * Stars
Cast: Justin Long, Haley Joel Osment, Michael Parks

In the flick I'm about to review, a side character in the form of a disdained detective says, "Canada doesn't have serial killers". I guess he never met Howard Howe, a dude who's dispatched at least 24 people. Howe turns Wallace into a walrus. That is, Justin Long's character gets the ultimate transformation treatment in Kevin Smith's surprisingly effective romp, Tusk. 2009 had The Human Centipede. 1990 had Misery. 2014 has this, a sick and twisted tale where an old timer psychopath (living in the middle of nowhere), abducts a wet behind the ears outsider, drugs him, and forces him to become a saber-toothed mammal.

Stereotyping my Northern neighbor of ten provinces and eerily scored by Christopher Drake (surprisingly, he usually writes music for video games), Tusk wants us the audience, to accept that if a human being is unfortunately turned into a walrus, well he must adapt to that form because there is no turning back. I mean if you take off his suit made of God knows what, what are you left with? Nothing but eyes and a beating heart, a total vegetable if you ask me. I realized how much this sat in about thirty minutes after a screening. It's all pretty manipulated, sickly, and gross stuff. But that's what great movies do. They affect you and leave you trembling.

The story begins with fast-talking, failed comedian turned Internet radio phenom, Wallace Bryton (Justin Long). He lives in Los Angeles and makes a ton of money off of ads for his program, The Not-See Party (that's how it's spelled, how comforting). His partner in crime is fellow radio host Teddy Craft (Haley Joel Osment). Wallace is confident and cocky (I don't know, what do call a guy with an outdated mustache who constantly cheats on his hot girlfriend). He's out for a story or interviews featuring weird and fascinating people. He does this to facilitate the viewers of his podcasts. On a tip from a young man who's own video of himself (cutting off his leg) goes viral, Wallace travels to Canada's Manitoba territory for a meeting. When said youngster ends up committing suicide, he instead looks for another guinea pig, one who's an old recluse (Howard Howe played by Michael Parks). He once was a seaman and has had his own share of trials and tribulations. He hates human beings (even though he obviously is one), he previously lived a torturous life, and now he has big plans for Wallace. (Spoiler alert coming) He ends up taking him in, putting something in his tea to knock him out, severing his limbs and tongue, and transforming him into well, Flipper. Adding insult to injury, he also puts Wallace's apparatus in a water tank and has him swim around with scenes of Nature Channel clips playing on two different TVs. Demented? Yup. Effective in the likes of horrific lore? Oh fer sure (Canadian slang term for ya).

Now for the record, it's hard for me to believe that Kevin Smith directed what's on screen here. Normally he implodes with a certain brand of raunchy humor and slacker characters. Not this time. Tusk starts out as silly with standard masturbation jokes and coarse profanities. It then descends into a nightmare. Your spine will tingle, the pit of your stomach will mesh, and when Smitty throws three quick zoom-outs at you (in between lots of flashbacks), you'll know that he's capable of capsizing the tourniquet on psychological terror.

Tusk will easily confirm to anyone that he's expanded his range as a director. Yeah, there's the occasional comedic overtones which can cause certain scenes to be uneven. But this won't however, deter you from its effectiveness. Smith's strong point is that he finally knows where to put the camera. It has never really been his forte but with this latest release, he matures in the way he sets up a shot (the ending one is a beauty as the lens pans away via a dejected, carnival freak). And usually, he's about the juvenile, Gen X dialogue in his comedies like Mallrats and Clerks. Here, it's more about characters delivering creepy monologues and making even creepier deferments. There's no jibber jabber about relationships, who had sex with who, comic books, or Star Wars anomalies. This is darker end of the tunnel stuff or as Martin Sheen's Willard would say, "the end of the river alright".

As for the acting, I didn't know Johnny Depp was in this thing till the closing credits. He's literally unrecognizable playing a homicide investigator who smokes ciggies while eating and puts hard liqueur into his milkshake (ugh). The real focus however, is on Justin Long and Michael Parks in the lead roles. They are excellent. Their portrayals as naive podcaster and crusty hurt monger will haunt you. J. Long toward the film's last half, acts forcefully with nothing but his eyes and howling screams. It's strange yet cool to see how different he is here as opposed to his cameo as an adult film director in Smith's Zach and Miri Make a Porno. Parks, who was in 2007's Kill Bill (a film which is obviously referenced in Tusk), is a veteran actor who's got a great voice and knows how to descend brilliantly into creep mode. When he quotes Ernest Hemingway by saying, "always do sober what you said you'd do drunk. That will teach you to keep your mouth shut", you cringe with open-ended despair. His turn in many aspects, is a total fireball. And finally, there's Haley Joel Osmont. All I gotta say is welcome back young man. You say you "see dead people". I say your career is destined to breath new life after everyone views you as an adult (Haley you stern lad with your suggestive dialogue deliveries. We hardly knew ya).

In conclusion, its been well documented that Tusk has gathered denouncement by most of today's critics (it stands at 39% on Rotten Tomatoes). I'm curious, is it because ballyhooed, comedic auteur Kevin Smith is at the helm? No matter. Towards the last few minutes of this catatonic masterpiece and possibly new found horror classic, Fleetwood Mac's faithful ditty is loudly played in the background. Singer Lindsay Buckingham shouts out the line, "don't say that you love me"! No problem sir. But I do however, love this morally jilted vehicle that's not as grisly or bloodied up as you might think (sans the shocking image of Long in his walrus suit which might cause you to go into therapy). It concentrates more on building enormous tension while its proceedings completely fester into your central nervous system (they pitch a proverbial tent there, trust me). The result: Four Stars.

Written by Jesse Burleson

Run All Night 2015 * * * Stars

Director: Jaume Collet-Serra

Year: 2015
Rated R
Rating: * * * Stars
Cast: Liam Neeson, Ed Harris, Joel Kinnaman

"Liam frickin Neeson". Those are the first thoughts that enter my mind when I discover that Ireland's favorite butt kicker is making another action drama. The look: a leather jacket, an unshaven face, a weariness from the soaking effects of alcohol on the mend. The character: one bad mother, a former hitman battling inner demons, a 6'4" juggernaut with a special set of skills. The plot: fathers and sons, mob ties, plenty of chain smoking, bodies piling up. The verdict: 2015's Run All Night is the third collaboration from Neeson and director Jaume Collet-Serra. They scored with last year's Non-Stop and actually top themselves this time with "Night". It's a hard-ass, moxie noir that makes you feel unsafe and doesn't give you a chance to breathe. Dare I say that this might be the crowning achievement in Liam's career as a vigilante who's on the verge of collecting his veritable social security.

Containing a set of story lines and/or themes that evoke shades of 2006's Running Scared and even 2011's Drive, Run All Night is a farcical yet entertaining vehicle. It sporadically features mad dog chemistry between Neeson and his heavyweight acting counterpart, Ed Harris. The story takes us to I guess, present day New York City. Liam "I'm still milking the action cow" Neeson plays a former contract killer named Jimmy Conlon (the quintessential name for a New Yorker). Jimmy currently lives his life in a drunken haze. He rarely eats, has huge regrets, and is so broke, he's actually desperate enough to borrow eight hundred dollars. He's also estranged from his son Mike Conlon (played by Joe Kinnaman), his ex-wife has passed away long ago, and he's relegated to living in a rundown apartment. Despite all this, he still has the back of his former yet more successful crime boss, Shawn Maguire (played by Ed Harris). Within "Night's" first half hour, Jimmy's son (a part-time limo driver) winds up in the wrong place at the wrong time. He watches Shawn's son Danny (played by Boyd Holbrook) commit multiple murders. When Danny goes after Mike as to leave no witnesses behind, Jimmy kills Danny and the two are hunted down by everyone from the police to another hired hitman to Shawn's plethora of mob henchmen. Ed's Shawn instinctively turns on Liam's Jimmy and says to him, "I'm coming after Mikey with everything I got". You ain't kidding bud.

Jaume Collet-Serra's direction is at times hyperkinetic if not unsobering. Instead of always cutting to a scene, he chooses to use Manhattan as a CGI map so his camera can go all aerial by travelling from one location to the next. He also exhausts you with plenty of gravitating action set pieces as well as letting his sound effects editor (Patrick Cicero) pound your senses with loud, visceral gunplay. He unintentionally channels 1995's Heat. There's the familiar restaurant conversation between the leads (a la De Niro and Pacino) and the familiar ending involving kill shots and bromantic hand holding. Finally, Collet-Serra gives "Night" a feeling of a Western via the last ten minutes. That's when Neeson's Conlon gets his indubitable kill on in a ruffneck, mafia-invested tavern.

With the exception of Joel Kinnaman who's just as wooden as he was in last year's RoboCop, Run All Night has performances that are rich and textured. We start of course, with Liam Neeson. He dons the mask and cape as the ultimate antihero. His despicable, former murderer for hire is fall down drunk until his need to save his wrongly accused son really makes him snap to it. Ed Harris is well, effective playing Ed Harris. He does his best emoting while sitting down and not moving all over the place. Then we have Common. With minimal dialogue and a how to approach in being Joe Conlon's rival hitman (Mr. Price), the Chicago born rapper is icy cool and rigidly nasty. Last but not least, there's grizzly Nick Nolte in an unbilled, two to three minute cameo. He plays Neeson's character's disapproving brother.

Acting and directing stints aside, I am going to recommend Run All Night despite some cliches. They run rampant like the movie version of the NYPD who never seems to get to a violent shootout on time. We also have the the gun-toting protagonist who fails to run out of ammo no matter how many gazillion rounds he's fired. Finally, we get the obligatory opening flashback where a character is on the verge of dying. This flashback, which is enhanced by narration, later on turns into a climatic scene that will be featured towards "Night's" conclusion. I lost count the number of times thrillers featured this hand me down.

Anyway, Run All Night has its share of flaws. However, it has given me the most excitement I've had writing a review since I penned The Gambler back in December. It's a relentless shootout quandary, a nail biter that an audience member should never and I mean never, "run" away from. So okay, here's what you do: grab some popcorn, buy a pack of Goobers, fill up your soda, and get settled in. As Neeson's Conlon says during the film's second act, "it's gonna be a long night".

Written by Jesse Burleson