Lina Lamont

"What do you think I am, dumb or something?"

Archive for the tag “JK Simmons”

Patriots’ Day

Patriots’ Day recreates the Boston Marathon bombing of 2013 and the real-life manhunt by law enforcement that ensued. It stars Mark Wahlberg as a composite character of several police officers who were instrumental in the case. These facts, and the film’s title which inevitably provokes caution in a non-American audience for whom “patriot” can feel like a dirty word, may have you shaking your head and rolling your eyes.

But the film also evokes the nail-bitingly brilliant United 93 in its assiduous use of facts and its ability to create extraordinary tension around an event with which we are already familiar. It stars John Goodman, J. K. Simmons and Kevin Bacon who portray real players in the game of cat and mouse. And it manages to be desperately moving, respectful and exciting, all in one movie.

Director Peter Berg acted for many years before launching a career behind the camera which produced many of my lowest cinematic moments, notably Battleship and Deepwater Horizon. Remarkably, Patriots’ Day eschews the cheesy script, soaring horns traditional in patriotic American soundtracks and bland acting, and instead puts out a truly heart-pumping thriller which lacks judgement of its baddies and only shuffles a wee way over the line in terms of glorifying its heroes.

Like United 93, the front end of the film focuses on setting up the fateful day and introducing us to the key players: the terrorists and the civilians whose lives will be irreparably changed in the space of 12 seconds. This scene-setting is handled really nicely, particularly the private moments between newlyweds Patrick and Jessica, and the fascinating introduction of a young Chinese app developer Dun Meng (played by Silicon Valley‘s Jimmy O. Yang) whose pivotal role does not become clear until well into Act 2.

Of course, Wahlberg has to have his moments, and while I’m not the big fan of Marky Mark that I have been in the past, he acquits himself fine as a no-BS Bostonian cop who acts as the thread between what otherwise might have felt like a series of vignettes about the days. While some have objected to his composite character, the respect Berg has paid to all involved in the tragedy (including inviting survivors and law enforcement on-set and asking for advice and detail to preserve authenticity) more than makes up for a slice of artistic licence.

Principally, it’s a thrilling ride which seamlessly incorporates documentary footage into the fabrication as the day unfolds, tragedy occurs and justice is eventually served. Moreover, it’s an illuminating glimpse into how the investigation was handled, including a gripping sequence in a warehouse where the crime scene has been reconstructed in which Wahlberg’s cop uses his knowledge of the streets to predict which CCTV cameras may have captured the perpetrators’ moves. Similarly, the gunfight which halted the terrorists’ plans makes for a sensational scene worthy of any fictional Hollywood action movie, and all the more exciting because you know this one has (had) real stakes.

Simmons, Goodman and Bacon play real people whose photos and interviews appear, with those of some survivors, just before the closing credits role – an effect which some viewers may feel re-injects the saccharine into an otherwise admirably matter-of-fact telling. But this coda is indisputably moving, and a necessary conclusion to a harrowing story which delivers a message of indomitable spirit and community at a timely moment in American history.




Moving at the speed of the titular injury and delivering as much of a shock, Whiplash is an exhilarating and disturbing watch.

Young Andrew Nieman is studying drumming at one of the most prestigious music schools in America. When he wins the attention of the conservatory’s legendary jazz band leader, Andrew sees his future written in the glint of the cymbals. However, as he is pushed perilously close to the limits of even the greatest musicians, Andrew must negotiate and survive the increasingly brutal professional relationship if he wants to realise his dream.

There is so much in this film to trumpet, but let’s start with the central performances. Andrew’s quietly driven loner is played by The Spectacular Now’s Miles Teller, an increasingly familiar face on our screens (particularly if your film-going diet includes young adult dystopia such as Divergent). Far more than just a cute kid with chutzpah, Teller’s dramatic maturity is evident when Andrew is promoted to lead drummer and allows himself a split second glimmer of delight which is swiftly quelled.

As his volatile foil, long-timer J. K. Simmons – a 30-year screen veteran you’ve seen so often you won’t be able to name a single part – finally gets a shot at an Oscar playing Terence Fletcher, the mercurial conductor who demands excellence from his players, but who employs militaristic tactics to achieve it. Fletcher epitomises the domestic abuser who oscillates between avuncular (“Don’t worry about what the other guys are thinking – just relax and enjoy it”) and bullying (“Are you one of these single tear people??” he snarls at a demolished Andrew who has failed to keep in time). Fletcher’s insults find their mark whether the recipient is fat, gay, female – whatever it takes to reduce his students (a preppy bunch of talented players whose eyes are instantly downcast as he storms into a room) to putty in his fist-clenched hands.

Then there’s the jazz. The sensational soundtrack is tightly played and crisply edited, rendering every performance virtually ecstatic. Teller (already a rock drummer who took a few jazz lessons to make this film) is superb as he plays so hard his hands bleed. If some scenes employ a stand-in, it’s impossible to discern.

Written and directed by a bright young filmmaker named Damien Chazelle (when the kids born in the year of Back to the Future start making movies, you know you’re old), the Making Of story is an object lesson in the pay-off of persistence (not by chance, the same moral of the on-screen story).

Chazelle had one small feature under his belt when he tried to make Whiplash but was unable to get funding. So he simply made it as a short film (casting Simmons in the same role) and submitted it to the Sundance Film Festival, where it won an award as well as the director’s due acknowledgement. Chazelle got his money and remade his short into this stunning feature which will doubtless secure his future.

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