Hello, there! My name is Preston Barta, and I am the features editor of Fresh Fiction and senior film critic at the Denton Record-Chronicle. My cinematic love story began where I was born: off planet on the isolated desert world of the Jakku system. It's there I passed the time scavenging for loose parts with my good friend Rey. One day I found an old film projector and a dusty reel of the 1975 film JAWS. It rocked my world so much that I left my kinfolk in the rearview (I so miss their morning cups of green milk) to pursue my dreams of writing about film. It wasn't long until I met two gents who said they would give me a lift. I can't recall their names, but one was an older man who liked to point a lot and the other was a tall, hairy fella. They got me as far as one of Jupiter's moons where we crossed paths with the U.S.S. Enterprise. Some pointy-eared bastard said I was clear to come aboard. He saw that I was clutching my beloved shark movie and invited me to the "moving pictures room" where he was screening the 1993 film JURASSIC PARK to his crew. He said my life would be much more prosperous if I were familiar with more work by the god named Steven Spielberg. From there, my love for cinema blossomed. Once we reached planet Earth, everything changed. I found the small town of Denton, TX, and was welcomed into the Barta family. They showed me the writings of local film critic Boo Allen. He became my hero and caused me to chase a degree in film and journalism. After my studies at graduate of the Hogwarts School of Witchcraft and Wizardry, I met some film critics who showed me the ropes and got me into my first press screening: 2011's THE GREEN LANTERN. Don't worry; I recovered just fine. MAD MAX: FURY ROAD was only four years away.
Preston Barta // Editor
When it comes to great cinema the occasional little gems can break through a sea of bigger spectacles in the most skillful manner. Every year, we seem to have the next young adult adaptation, superhero sequel, and HOBBIT flick. But every so often, you’ll bear witness to a (500) DAYS OF SUMMER, SHORT TERM 12 or OBVIOUS CHILD. This year, we have received a few such films like the aforementioned abortion comedy, but the one on top of it all is Damien Chazelle’s highly intense psychological drama, WHIPLASH.
This terrifying terrific story puts forth a challenging idea: is it better to instruct a pupil at a normal stride and tell him or her “good job” no matter what, or is better to push him or her to their limits, unveiling their full potential? Instructor Terrence Fletcher (J.K. Simmons) tries the latter on his drumming student (Miles Teller). The results are ruthless and brutal, but certainly make you wonder.
Everyone dreams of making it big, of being remembered for great things, of being compared to the likes of Peyton Manning, Jimi Hendrix, or Daniel Day Lewis. Miles Teller’s (THE SPECTACULAR NOW) Andrew, the protagonist of WHIPLASH, dreams of being the next great drummer, a drummer that will be remembered. What do you dream of? No matter what that may be, WHIPLASH will bring yourself to question your life and aim for greatness of your own.
The Twittersphere has been abuzz over Simmons’ (JUNO) performance as Andrew’s relentless instructor. His Terrence Fletcher is a fully fleshed out supporting role that should have Oscar voters wide eyed. Hardly a caricature, Fletcher is a man full of passion and hostility. Simmons’ disappearance in Fletcher is reminiscent of Christoph Waltz in INGLOURIOUS BASTERDS, a performance that found much heat on the awards circuit. Simmons’ FULL METAL JACKET turn will undoubtedly surprise any audience.
While Simmons’ may be stealing all the spotlight, Teller carries the movie on his shoulders in a striking way. He pushes himself to places we never envisioned that wisecracking and motor-mouthed young man would go.
Beyond these arresting actors, you can’t disregard the pen behind the performers’ words. Writer-director Chazelle is following in the footsteps of a young Bennett Miller (FOXCATCHER). WHIPLASH is an exceptional sophomore effort. Chazelle is no stranger to incredible writing: those who haven’t seen his feature debut, GUY AND MADELINE ON A PARK BENCH (2006) should seek it out. WHIPLASH may reach an entirely new level of eminence, but Chazelle’s prior work demonstrates how the writer-director has grown into a filmmaker to keep an eye on for years to come.
Chazelle takes inspiration from his own life, his love of cinema and music, and stirs them up into a gritty and layered experience with deep characters and fresh beats. You will ride along, just as the characters do, all the way to an ending that will bring you to tears and will have you applauding as the cymbals crash and characters clash.
WHIPLASH opens in limited release tomorrow.