There have been points in my life where I've had people comment on how nice it is to be so clear-cut goal, and when people say that, I try to smile and take it in the spirit it was intended. The truth, however, is that having such a strong position to do something is a double-edged sword. Yes, when you know what you want in this world, it can be an advantage, because you can work toward it and you can stay focused on it. But on the other side, which is a gnawing fear that you can not accomplish what you want to achieve, Watch Whiplash Movie @k and that all work in the world can not guarantee you an audience. Just because I write every single day does not mean that my work is being read or see or shared. Further, just because I write every day, does not mean that my job is to be read or seen or shared, and that thought terrifies me. Commitment to the ship, which is based on others you can be able to do it is a life I do not want anyone, and often, when you see the films of artists

it almost feels like a wish fulfillment, as they sign the world to give himself all that real life is not. One of the things that I loved about "Inside Llewyn Davis" was that the Coens decided to tell the story of one moment where they realize that their dreams are not going to come true and there is no magical moment when it all worthwhile, and the world opens up to you and all of a sudden is recognized misunderstood you are a genius. Coens perfectly captured the feeling of realizing that maybe all the trouble in the world is not enough, and maybe you're never going to be the thing you want to be. With the "whiplash", at the opening of the film in 2014 at the Sundance Film Festival, writer / director Damien Chazelle has decided to paint a picture of a young musician wrestling with his own desire for greatness and hard truths of what it takes to this goal, and although I do not think the film works perfectly, it will build something great, and is the undisputed power to it. Miles Teller stars Andrew, the drummer, who has managed to get to the Schaffer Music Academy, one of the best music schools in the country. There is one teacher in particular that Andrew wants to make an impact, Terence Fletcher, played by JK Simmons. Fletcher leads the school's award-winning jazz band, and he has a reputation as a guy who makes a lot of musicians. Very early in the film, Andrew Fletcher catches attention, and he has the chance to join the ensemble. What emerges is a clever and ultimately satisfactory to look at how far the artists are willing to go to continue the greatness, and the film is asking difficult questions about what is acceptable to both the artist and mentor when it comes to motivation. If someone is a monster and abuses the people he commands, but the result is that he gets the true greatness of them, does not this end justifies the means? Do you have to sacrifice what you want, and how much sacrifice is enough? When I first moved to Los Angeles, I went through several roommates during the first few years. People dropped and out of my life, and I have seen the number of people to fold and quit when things do not happen immediately. There was one person in particular, I met and lived for some time, even if that has gone into a career in real achievement, and during the first week I knew him, I knew that it would happen. He was a jazz drummer, and he had more natural talent than anyone I've ever met at this stage. He may still be the most talented person I've ever been close to, and there were times when I would look almost bewildering amount of ability he had, and it will infuriate me. He was a genius, someone who heard and felt the music in a different way, and when I listen to the album he made with his band Bad Plus or hear his side project Happy Apple, I am still blown away at the raw brilliance as well as his technique and his artistry. When he first moved to Los Angeles, he went to apply the student musicians of the Institute and at the end of his experiment, they turned him down as a student and offered him a job as a teacher. When I saw how easy it was Dave, it was hard to make yourself write every day, hard to believe that the work could never get me anywhere near the basic level of luxury with Dave began. For most artists, even though it is not easy. There is very little David Kings out there, people who are so effortlessly good, that they make it look easy. For the most part, if you want to succeed, you have to be willing to give yourself over something like 100%. I have lost relationships in my life, because I could not give them the time they deserved, and I lost track of people, because I was so focused on my own goals. Even now, at 43, I still find myself giving up the personal side of things, so that I can continue my professional side of things

and I often wonder if I'm fooling myself. Is it worth it? Should I be prepared to be unhappy, so I succeed? Should I be okay without the things on my social life, so that I can pursue the matter I want to do professionally? Andrew struggles to justify his place in the jazz band, Fletcher piles of abuse, and it is amazing to see what happens when the director finally give Simmons the room really stretch as a performer. He is a great movie, and he did not temper the harder aspects of Fletcher's personality or try to play with him more sympathetic than he should be. Simmons knows that greatness and would not necessarily related to each other, and he makes Fletcher a hard man to like. He is manipulative. He goes down. He is cruel. And yet, when he speaks openly Andrew at some point about how important it is for Charlie Parker to suffer so that he could end up being very motivated, he is not completely wrong. He is so desperate to find and cultivate greatness as Andrew is to implement it, and the film raises these questions without coming down completely on one side or the other. Miles Teller to build a really strong and interesting filmography for himself. Although he is a very good comedies, he has more to offer. When you see him 'Spectacular Now', it is clear that he could be a long and successful Hollywood career playing motormouthed likable guy, and he could make it look easy, and he will probably be

well-liked in the process. But when you look at where he was introduced to film by John Cameron Mitchell's piercing "Rabbit Hole" is a depth to him, and in this film he does a beautiful job of playing both drive it takes to become one of Andrew in the first place, and the pangs of longing for something normal that can make any of these dreams. Bank Officer is not trained drummer, but he throws in this performance such a way that it feels right. Is he hits every note right, he is completely believable scenes where he immerses himself, trying to be better, trying to get faster. Similarly, JK Simmons is one of those guys, which is always a good idea, but who has rarely been so much to do, because he is here, and he rises to the occasion. It would be easy to play Fletcher as an asshole with no redeeming, but Simmons makes it difficult to dismiss him. It is the arrogance that is accompanied by something large in many cases, and from the moment he appears in the film, he gives off the aura of someone who knows all the secrets, someone who can pass them along.

It makes sense that Andrew would be deprived of her, and it makes sense that students would be willing to take his abuse, because they believe that if they were to survive, is a reward waiting. By far the best part of the movie is the last twenty minutes or so, and it is so good that it almost makes up for some missteps along the way. At one point, there's a car accident, and the fact that exactly the same shot we've seen now around 1000 movies with a giant bus suddenly looms up the driver's side window from scratch. I would like to invite the official to interrupt the moment, because even though it really does get physical response out of the audience, it's cheap, and it has gone far beyond the cliche now. Similarly, there subplot in which a lawyer who has introduced gracelessly, and that works well in a mechanical way to motivate something else. When Andrew Fletcher, and again, even if the film picks up, and it will culminate in just such a perfect moment that many artists to chase their whole lives. It is thematically appropriate, and I can imagine Chazelle reverse engineering feature film to reach this end. It left me exhilarated, and while not every part of the "Whiplash" works, it is a strong introduction to the new sound, and a major showcase for the two actors who know exactly what to do when they are given the material this strong.