'Boyhood' Named Film of the Year by London Film Critics Circle

Whether here or abroad, Richard Linklater's Boyhood appears to be building an incredible, possibly unstoppable, amount of momentum heading into the Academy Awards. Coming off Best Picture wins at the Golden Globes and Critics' Choice, Boyhood has now been named Film of the Year by the London Film Critics Circle. That goes along with a Director of the Year win for Linklater, and Best Supporting Actress for Patricia Arquette. In general everything went according to the established playbook. Michael Keaton still took the top acting prize for his Birdman performance, while Julianne Moore won Best Actress for Still Alice. JK Simmons racked up another Best Supporting Actor victory for throwing drumsticks around in Whiplash, and Wes Anderson's The Grand Budapest Hotel won for its screenplay.

Looking at the British side it was Jonathan Glazer's Under the Skin which won for Best British Film, while Rosamund Pike saw some love for her performance in Gone Girl. Full list of winners is below:

35th LONDON CRITICS' CIRCLE FILM AWARDS WINNERS
FILM OF THE YEAR
Boyhood

FOREIGN-LANGUAGE FILM OF THE YEAR
Leviathan

BRITISH FILM OF THE YEAR
Under the Skin

DOCUMENTARY OF THE YEAR
Citizenfour

ACTOR OF THE YEAR
Michael Keaton - Birdman

ACTRESS OF THE YEAR
Julianne Moore - Still Alice

SUPPORTING ACTOR OF THE YEAR
JK Simmons - Whiplash

SUPPORTING ACTRESS OF THE YEAR
Patricia Arquette - Boyhood

BRITISH ACTOR OF THE YEAR
Timothy Spall - Mr Turner

BRITISH ACTRESS OF THE YEAR
Rosamund Pike - Gone Girl (Fox) & What We Did on Our Holiday

YOUNG BRITISH PERFORMER OF THE YEAR
Alex Lawther - The Imitation Game

DIRECTOR OF THE YEAR
Richard Linklater - Boyhood

SCREENWRITER OF THE YEAR
Wes Anderson - The Grand Budapest Hotel

BREAKTHROUGH BRITISH FILMMAKER
Yann Demange - '71

TECHNICAL ACHIEVEMENT AWARD
Under the Skin - Mica Levi, score

DILYS POWELL AWARD FOR EXCELLENCE IN FILM
Miranda Richardson

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JK Simmons heads to 'Kong: Skull Island' with Tom Hiddleston

While the recent Golden Globes and Critics Choice nominations have muddied the outlook for the Oscars a little bit, one thing seems abundantly clear: JK Simmons' volatile performance in Whiplash is a shoe-in for Best Supporting Actor. He's always made for a great addition to any cast, and now he'll be bringing the intensity to Legendary's King Kong prequel, Kong: Skull Island.

Recently moved from late 2016 to the following year, Kong: Skull Island will be directed by Jordan Vogt-Roberts (The Kings of Summer) with Tom Hiddleston starring. Simmons' role is unclear but he'll probably be someone with a temper problem, and hopefully he can get Kong to find the right jazz rhythm. The story will be written by John Gatins (Real Steel) and Max Borenstein (Godzilla), centering on the titular island birthplace of the famous movie gorilla.

Kong: Skull Island opens March 10th 2017.  Simmons will be seen next year as part of Terminator Genisys. [Deadline]

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'Birdman' Soars to Five 2014 WAFCA Award Wins; 'Boyhood' Earns Best Film

The Washington DC Area Film Critics Association, of which most of us are members, has announced the winners of the 2014 WAFCA Awards, and it continues the string of success for Richard Linklater's coming-of-age drama, Boyhood. The indie film took home four awards, including wins in the Best Film and Best Director category. Best Supporting Actress went to Patricia Arquette while the Best Youth Performance (for actors under age 20) went to star Ellar Coltrane.

Taking the most victories with five was Alejandro Gonzalez Inarritu's meta-comedy, Birdman, with Michael Keaton winning Best Actor. Best Animated Feature went to The Lego Movie, while Julianne Moore won for portraying a woman with Alzheimer's Disease in Still Alice. Keeping up with the beat was JK Simmons who won Best Supporting Actor for his role as a sadistic drum instructor in Whiplash, while in a surprise victory Under the Skin won for Best Original Score.

The full list of winners is below:

THE 2014 WAFCA AWARD WINNERS:

Best Film:
Boyhood

Best Director:
Richard Linklater (Boyhood)

Best Actor:
Michael Keaton (Birdman or (The Unexpected Virtue of Ignorance))

Best Actress:
Julianne Moore (Still Alice)

Best Supporting Actor:
J.K. Simmons (Whiplash)

Best Supporting Actress:
Patricia Arquette (Boyhood)

Best Acting Ensemble:
Birdman or (The Unexpected Virtue of Ignorance)

Best Youth Performance:
Ellar Coltrane (Boyhood)

Best Adapted Screenplay:
Gillian Flynn (Gone Girl)

Best Original Screenplay:
Alejandro G. Iñárritu, Nicolás Giacobone, Alexander Dinelaris, Jr., Armando Bo (Birdman or (The Unexpected Virtue of Ignorance))

Best Animated Feature:
The LEGO Movie

Best Documentary:
Life Itself

Best Foreign Language Film:
Force Majeure

Best Art Direction:
Production Designer: Adam Stockhausen, Set Decorator: Anna Pinnock (The Grand Budapest Hotel)

Best Cinematography:
Emmanuel Lubezki, ASC, AMC (Birdman or (The Unexpected Virtue of Ignorance))

Best Editing:
Douglas Crise, Stephen Mirrione, ACE (Birdman or (The Unexpected Virtue of Ignorance))

Best Original Score:
Mica Levi (Under the Skin)

The Joe Barber Award for Best Portrayal of Washington, DC:
Captain America: The Winter Soldier

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Richard Linklater's 'Boyhood' Named Best Film by New York Film Critics Circle

Just because the New York Film Critics Circle feels the need to be the first awards out of the gate each year doesn't mean they hold sway over the Oscar race. In fact, they absolutely don't if last year's three honors for American Hustle are anything to go by. This year they are again first in line to reveal their winners, and it's Richard Linklater's coming-of-age drama Boyhood leading the pack with three wins.

Boyhood won for Best Director, Best Film, plus a victory for Patricia Arquette in the Best Supporting Actress category. Best Actress went to Marion Cotillard for the divisive (and mostly forgotten) period drama, The Immigrant, while Timothy Spall won Best Actor for Mr. Turner. Unsurprisingly, The Lego Movie won for Best Animated Feature, while Best First Feature Award went to Jennifer Kent for her inventive horror, The Babadook. If there's one category where a win might actually be a prelude to further victories, it's the Best Supporting Actor award which went to J.K. Simmons for Whiplash. Full list of winners is below:

Best Film
Boyhood

Best Actor
Timothy Spall, Mr. Turner

Best Actress
Marion Cotillard, The Immigrant; Two Days, One Night

Best Director
Richard Linklater, Boyhood

Best Supporting Actor
J.K. Simmons, Whiplash

Best Supporting Actress
Patricia Arquette, Boyhood

Best Foreign Language Film
Ida (Poland, dir. Pawel Pawlikowski)

Best Animated Film
The Lego Movie (dirs. Phil Lord, Christopher Miller)

Best Screenplay 
The Grand Budapest Hotel (dir. Wes Anderson)

Special Award
Adrienne Mencia

Best Cinematography
Darius Khondji, The Immigrant 

Best First Film 
Jennifer Kent’s The Babadook

Best Non-fiction Film (Documentary)
Citizenfour (dir. Laura Poitras)

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Britt Robertson Serves Up 'Cook'; Anna Kendrick and JK Simmons Target 'The Accountant'

Red-hot actress Britt Robertson (Tomorrowland, Delivery Man) has landed another high profile gig, this time joining Eddie Murphy in Cook. Directed by Bruce Beresford, the story has Murphy as a home cook hired by a dying man to prepare meals for his girlfriend and her daughter when he passes." Robertson, who also has an upcoming role in Nicholas Sparks' The Longest Ride, will play the daughter. [Deadline]

A few weeks ago we learned that Ben Affleck would take time out of his busy Batman schedule to star in The Accountant, an action film directed by Gavin O'Connor. Now  it looks like he'll be joined by Anna Kendrick and JK Simmons, assuming deals can get made with both. Kendrick would take the female lead in the film which stars Affleck as a government accountant who moonlights as a lethal assassin. Kendrick will be seen next in the musical Into the Woods, while Simmons is getting a ton of Oscar buzz for his performance in Whiplash. [Variety/THR]

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Review: 'Whiplash' starring Miles Teller and J.K. Simmons

 NOTE: This is an edited reprint of my review from the Sundance Film Festival. Whiplash opens on Oct. 10th.

The story goes that in 1937 legendary saxophonist Charlie "Bird" Parker, at the ripe young age of 16, dared to improvise while in a jam with drummer Jo Jones. At first his ambitious gamble seemed to pay off, but Parker got ahead of himself and lost the beat, causing Jones to hurl a cymbal at him. Rather than discouraging him, Parker left the club saying "I'll be back", and after a year of intense practice he returned and the rest is jazz music history. That story of Parker's perseverance is the engine that drives Whiplash, a film that has affectionately been called "Full Metal Jacket at Juilliard". It's a nickname that fits.

Miles Teller, who scored at last year's Sundance with The Spectacular Now, returns to Park City in his most physically demanding role yet as Andrew, a first-year student at a prominent New York City conservatory. He has a dream of not only being a great jazz drummer, but the greatest drummer ever, and when we meet him he's practicing late into the night. That's when he catches the eye of Terence Fletcher (J.K. Simmons), the school's tough-as-shoe leather instructor. Andrew wants a spot on Fletcher's top notch jazz ensemble, a place where careers can be made.

Taping up his fingers like a boxer tapes his fists; Andrew works his hands to the bloody bone to gain Fletcher's favor. Gaining a spot on his team thanks to Fletcher's mind games, Andrew comes to learn that he can lose his spot just as easily. Enduring incredible physical and mental abuse at Fletcher's hands, Andrew is put through a brutal baptism by fire. To be the best he'll have to endure the worst, or be just another one of the many who have crumbled when pushed beyond their limits. At the same time, Andrew must contend with a skeptical father (Paul Reiser), a family that doesn't respect his career, and a girlfriend who may be too much of a distraction. If he's ever going to be one of the greats, like his idol Buddy Rich, there can be no outside life. There can only be the drums; there can only be the type of dedication that drove Charlie Parker, whose story is repeated often by Fletcher as a motivating tool. When he's not berating his pupils, that is.

Whiplash has had quite the journey to the big screen, beginning as a Black List script by writer/director Damien Chazelle, that was turned into a short film that took home the Jury Award at last year's Sundance. The feature version plays with your emotions like a conductor leading his band, steering away from the typical "overcoming the odds" crowd-pleaser. Chazelle never sticks to the sheet music, adding a moral quandary that threatens the already-tense relationship between mentor and student.

Playing the drums has never been depicted quite like this, showing just how physically demanding it can be. Dripping with sweat, muscles quivering with every strike; if Teller didn't do all the drumming himself it would be a shock, that's how convincing he is. Andrew's motivations are a little underdeveloped, but Teller is given plenty to work evolving from fresh-faced newbie to someone who can master the incredible pacing required for a jazz drummer. Simmons hasn't had a role this good in a very long time, and it's easy to forget just how intimidating he can be when in full a--hole mode. It's too early to start talking about Oscars and things of that nature, but it's safe to say that Teller and Simmons are in top form.

A number of classic jazz standards (you'll be hearing "Whiplash" in your head for hours after) make for a rousing soundtrack fans of the genre will be dying for, and the film moves at a brisk rhythm Count Basie would be proud of. Whiplash begins and ends on a high note, building to an exciting, brilliantly executed moment that will have audiences cheering and begging for an encore.

 Rating: 3.5 out of 5

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New Trailer for Jason Reitman's 'Men, Women and Children'

In case you haven't figured it out, social networking isn't always so social. For all the ways the Internet has connected us to the world at large it has also disconnected us personally. This is nothing new, and Hollywood has already told that story umpteen times. So what makes Jason Reitman's Men, Women and Children different from the rest? The phenomenal cast he's put together with Adam Sandler, Ansel Elgort, Kaitlyn Dever, Emma Thompson, Jennifer Garner, Judy Greer, Rosemarie DeWitt, J.K. Simmons, and Dennis Haysbert,

The latest trailer introduces us to a number of characters whose lives have been affected, generally for the worse, by the Internet. This trailer seems to be dealing mostly with the search for love and companionship, which technology has made easier and complicated at the same time. While incredibly somber, this looks like a step up from Reitman's last film, Labor Day. Then again that one looked good in trailers, too, and Reitman has since written it off as a mistake. The reviews out of the festival circuit have been mixed, and their doesn't seem to be much buzz for a film opening in just a couple of weeks on October 1st.

Get More: Movie Trailers, Celebrity News

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Hugh Grant and Marisa Tomei Learn to Love Again in Trailer for Rom-Com 'The Rewrite'

For a good stretch in the '90s and early 2000s you couldn't spit without hitting a new romantic comedy starring Hugh Grant. He was basically the poster boy for the entire genre, but after the $145M-grossing Music and Lyrics in 2007 Grant has been going in a different direction with Cloud Atlas and The Man from UNCLE. Now he's back doing what he knows best in The Rewrite, a comedy that sees Grant romancing Marisa Tomei.

Marking Grant's fourth collaboration with director Marc Lawrence, the film follows an award-winning screenwriter who has hit the skids. Broke, divorced, and in the midst of a midlife crisis, he takes a job teaching a screenwriting course at a small college, which is where he meets and falls in love with a single mom (Tomei) working towards her degree. It's as light and fluffy as you might expect, with Grant showing he can still play the lovable cad when called upon. Honestly, the first thing I thought of while watching the trailer was Josh Radnor's Liberal Arts, which did nothing for me.

Also starring Alison Janney, Bella Heathcote, J.K. Simmons, and Chris Elliott, The Rewrite opens in the UK on October 8th but has yet to secure a US date.

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Miles Teller Finds the Rhythm in New Trailer for 'Whiplash'

The last major studio film of the summer came and went last week with Sin City: A Dame to Kill For, and now it's time to turn our attention to the fall and the potential awards favorites. It's also a time when many of the most lauded films from Sundance begin to emerge, and one of those is Whiplash, which won both the Audience and Grand Jury drama awards at the festival while earning raves for stars Miles Teller and J.K. Simmons.

A new international trailer for the jazz drumming film has been released and it reveals exactly why many have dubbed it Giulliard's Full Metal Jacket. Written and directed by Damien Chazelle, the film stars Teller as a jazz drummer with aspirations of greatness, but finds his mettle tested by his terrorizing instructor at a prestigious New York academy. A definite crowd-pleaser with two powerful lead performances, the film is one I expect to make a lot of noise when it opens, which is why I'm quoted on the movie's poster saying "Whiplash will have audiences cheering and begging for an encore." Believe that.

Also starring Paul Reiser, Melissa Benoist, and Austin Stowell, Whiplash opens October 10th. Check out my interview with the cast here.


Whiplash International TRAILER 1 (2014) - Miles Teller Drama [HD] by MovieTrailerz

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First Trailer and Images from Jason Reitman's 'Men, Women, & Children'

What amounts to a slump for someone like Jason Reitman are the solid reviews and underwhelming performance by his dark comedy Young Adult, and the overall disastrous response to Labor Day. That last film in particular didn't truly feel like Reitman at the height of his powers, which is finding humor and truth in uncomfortable relationships. His first three films; Thank You for Smoking, Juno, and Up in the Air hit on that difficult tone perfectly. And now with his latest film Men, Women, & Children on the way it seems Reitman is doing something new by exploring the dark side of technology.

Gathering a large and varied ensemble that includes Adam Sandler in a rare dramatic role, Jennifer Garner, The Fault In Our Stars' Ansel Elgort, Short Term 12's Kaitlyn Dever, Emma Thompson, Rosemarie DeWitt, Judy Greer, J.K. Simmons, and Dennis Haysbert, the new trailer suggests an interconnected story about relationships ripped apart in the Internet Age. Is it possible to find a human connection in a world dominated by social networking? It's a pretty gloomy piece of footage and is totally free of Reitman's usual brand of humor, but with Eric Cressida Wilson (Secretary) co-writing the screenplay there's bound to be some offbeat laughs in there somewhere.

Men, Women, & Children will hit the Toronto International Film Festival before opening this October.

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J.K. Simmons Demands Perfection from Miles Teller in Trailer for 'Whiplash'

Here's the thing about Damien Chazelle's Sundance hit, Whiplash: it's about jazz drumming. Excited? Probably not, and that was one of the core issues the young writer/director had to face when developing this story about a drumming prodigy and his mentor. The music doesn't immediately lend itself to the cinematic experience. So what was the solution he landed upon? First he gave much of the music more of an upbeat edge, like with the central track, Bob Ellis' "Whiplash"; he crafted a true underdog story audiences can related to; and finally the casting of Miles Teller and JK Simmons in the most dynamic performances of their careers.

All of these factors are prevalent in the first Whiplash trailer, which should give you an idea why many say it was the breakout film in Park City. Teller plays Andrew, a first-year student at a prestigious NYC conservatory, with dreams of being the greatest jazz drummer ever. But to do it he'll have to survive tough-as-leather instructor Terence Fletcher (Simmons) and the perfection he demands of his students. The "Full Metal Jacket at Juilliard" descriptors are more than accurate, but also is the praise heaped on Teller and Simmons. Teller played his own drums throughout and his performance is one I compared to the physical demands of athletes. Obviously, you get the idea this is a personal favorite of mine. It's certainly a crowd pleaser and "will have audiences cheering and begging for an encore."

Whiplash hits theaters on October 10th, and I'm calling it now that Simmons is going to get a Best Supporting Actor nomination out of it. If you're interested in more, check out my interview with Chazelle, Teller, and the rest of Whiplash's cast.

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Miles Teller Can't Get the Rhythm in First 'Whiplash' Clip

What those who have never picked up a pair of drum sticks can't possibly know is how grueling being a drummer can be. It's a physical and mental endurance test that also requires incredible amounts of timing and synchronicity with the rest of the band. If the drummer screws up then the whole thing is thrown off. Writer/director Damien Chazelle captures just how taxing it can be as a drummer in his debut feature, Whiplash, and now we finally have the very first clip.

Miles Teller stars in the feature version of Chazelle's Sunance Award-winning short film, playing a drumming prodigy under the tutelage of a drill instructor-like mentor played by JK Simmons. In this scene we see that Teller's character just can't get anything to perfection, he's either rushing or dragging, and soon Simmons' frustration reaches Bobby Knight levels.

This was the very first film I saw at Sundance and it was also one of the best, which is why it won the Audience and Grand Jury awards at the festival.  Whiplash opens October 14th. Check out the clip below, and also my interview with the cast and director here.

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J.K. Simmons Joins 'Terminator: Genesis'

There are great character actors, and then there is JK Simmons who takes supporting roles to a new level. He's coming off perhaps one of his best yet in the Sundance hit, Whiplash, and now he's joining the already great cast of Terminator: Genesis.

Simmons will play "weary and alcoholic detective who has followed a bizarre case involving Sarah Connor and robots for more than three decades.", reportedly since 1984, the same year as James Cameron's original film. That's an interesting description and suggests his character will have something to do with the story's diverging timelines. With a parallel TV series also in the works it wouldn't be a surprise if his character was involved in that, too. He joins Emilia Clarke as Sarah Connor, Jason Clarke as John Connor, Jai Courtney as Kyle Reese, and Arnold Schwarzenegger as the Terminator.

Directed by Alan Taylor, Terminator: Genesis opens July 1st 2015. [THR]

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Review: 'Labor Day' Starring Kate Winslet and Josh Brolin

There's this one crucial scene in Jason Reitman's Labor Day when an escaped convict played by Josh Brolin, kidnaps a mother and her son but wins over their hearts with chili and peach cobbler. Oh wait, that's the entire movie and it's pretty damned sad and awful, an unintentionally misogynistic joke whose point seems to be that lonely women should go out and screw the first violent offender they can find. It's especially disappointing since Reitman has shown a greater handle on balancing the tragic with a measure of dark humor, and because it stars Kate Winslet and Josh Brolin, neither of whom seem to realize just how ridiculous they look taking this so seriously.

Having never read Joyce Maynard's novel that Reitman is basing this on, it's impossible to say whether it's as laughable as the adaptation, but one has to assume it is. It treads on the same treacly territory as the worst of Nicholas Sparks, and features a stunning lack of urgency that leaves the film as dull as it is preposterous. Set in melancholic 1986, Winslet plays the clinically-depressed Adele, who can barely function in the wake of her divorce. She can't even be bothered to leave the house except to get groceries once a month, and when she does the nervous shakes in her hand tell all. Her son Henry (Gattlin Griffith) is a quiet sort, and has learned to become the new man of the house. One scene, meant to be heartfelt but is really just creepy, has him agreeing to be "husband for a day", doing all the things a man would do around the house....until he realizes he's unequipped for what Adele really needs. In short: she's horny, and the film dances around the subject like the audience are a bunch of children with virgin ears.

During one rare excursion to a shopping mall, Henry is approached by Frank (Brolin), a bleeding man who insists on being given a ride. The threat of violence forces Adele to give in and drive him to their home, but fortunately he turns out to be an ex-con.....with a heart of pure gold! Yay! It helps that he looks like Josh Brolin because that makes it easier to swallow when Frank becomes the husband and father they've been waiting for. Why, the guy is like Bobby Flay and Mr. Fix-It all wrapped into one. Soon he's fixing them breakfast, baking pies, and (in a purely non-sexual way) checking the pipes and clearing the gutters. Oh screw it, it's totally sexual. Every now and then he's forced to tie them up, like when friends (played by the woefully underused JK Simmons and Brooke Smith) drop by unexpectedly. Not that being reminded they are being held hostage matters because Adele needs a manly touch and Henry needs someone to play catch with.

Draped in dreariness and angst, the film is also weighed down by ponderous narration courtesy of Tobey Maguire as the older Henry. Basically he's there to reminisce happily about those days when his family was held hostage and forced to become a semblance of a family. Yeah, it's as absurd as it sounds, paying some sort of weird homage to Stockholm Syndrome victims everywhere. And yet, as the film grows sillier, it still remains fairly predictable in attempts to forgive these unbelievably misguided characters. Adele's ex-husband (Clark Gregg) turns out to be a jerk, and Frank's crime involves the death of his cheating wife. So she must have deserved it and that makes Frank a perfectly suitable suitor.

Winslet and Brolin sell the heck out of this thing, though, and their passion at least feels genuine even if nothing else does. She seems to be walking in much the same desperate territory as in Little Children, while he's clearly been reading from the Bridges of Madison County playbook. Abridged version.

Considering the hot start to Reitman's career with Juno and Up in the Air, the lack of attention paid to Young Adult was a bit surprising. But Labor Day is a contrived weeper nobody will consider while it's here, and few will remember when it's gone.

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Sundance Review: 'Whiplash' Starring Miles Teller and J.K. Simmons

The story goes that in 1937 legendary saxophonist Charlie "Bird" Parker, at the ripe young age of 16, dared to improvise while in a jam with drummer Jo Jones. At first his ambitious gamble seemed to pay off, but Parker got ahead of himself and lost the beat, causing Jones to hurl a cymbal at him. Rather than discouraging him, Parker left the club saying "I'll be back", and after a year of intense practice he returned and the rest is jazz music history. That story of Parker's perseverance is the engine that drives Whiplash, a film that has affectionately been called "Full Metal Jacket at Juilliard". It's a nickname that fits.

Miles Teller, who scored at last year's Sundance with The Spectacular Now, returns to Park City in his most physically demanding role yet as Andrew, a first-year student at a prominent New York City conservatory. He has a dream of not only being a great jazz drummer, but the greatest drummer ever, and when we meet him he's practicing late into the night. That's when he catches the eye of Terence Fletcher (J.K. Simmons), the school's tough-as-shoe leather instructor. Andrew wants a spot on Fletcher's top notch jazz ensemble, a place where careers can be made.

Taping up his fingers like a boxer tapes his fists, Andrew works his hands to the bloody bone to gain Fletcher's favor. Gaining a spot on his team thanks to Fletcher's mind games, Andrew comes to learn that he can lose his spot just as easily. Enduring incredible physical and mental abuse at Fletcher's hands, Andrew is put through a brutal baptism by fire. To be the best he'll have to endure the worst, or be just another one of the many who have crumbled when pushed beyond their limits. At the same time, Andrew must contend with a skeptical father (Paul Reiser), a family that doesn't respect his career, and a girlfriend who may be too much of a distraction. If he's ever going to be one of the greats, like his idol Buddy Rich, there can be no outside life. There can only be the drums; there can only be the type of dedication that drove Charlie Parker, whose story is repeated often by Fletcher as a motivating tool. When he's not berating his pupils, that is.

Whiplash has had quite the journey to the big screen, beginning as a Black List script by writer/director Damien Chazelle, that was turned into a short film that took home the Jury Award at last year's Sundance. The feature version plays with your emotions like a conductor leading his band, steering away from the typical "overcoming the odds" crowd-pleaser. Chazelle never sticks to the sheet music, adding a moral quandary that threatens the already-tense relationship between mentor and student.

Playing the drums has never been depicted quite like this, showing just how physically demanding it can be. Dripping with sweat, muscles quivering with every strike; if Teller didn't do all the drumming himself it would be a shock, that's how convincing he is. Andrew's motivations are a little underdeveloped, but Teller is given plenty to work evolving from fresh-faced newbie to someone who can master the incredible pacing required for a jazz drummer. Simmons hasn't had a role this good in a very long time, and it's easy to forget just how intimidating he can be when in full a--hole mode. It's too early to start talking about Oscars and things of that nature, but it's safe to say that Teller and Simmons are in top form.

A number of classic jazz standards (you'll be hearing "Whiplash" in your head for hours after) make for a rousing soundtrack fans of the genre will be dying for, and the film moves at a brisk rhythm Count Basie would be proud of. Whiplash begins and ends on a high note, building to an exciting, brilliantly executed moment that will have audiences cheering and begging for an encore.

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Sam Rockwell Eyes 'Poltergeist'; Miles Teller Joins 'Whiplash'; 'If I Stay' Adds Mireille Enos

* The last time Sam Rockwell ventured into horror territory it was as part of the indie thriller, Joshua, but now it sounds like he's interesting in tackling something much bigger. The Wrap reports that Rockwell is in talks to join Rosemarie DeWitt in the Poltergeist remake, and he's intrigued by the possibility of working with producer Sam Raimi. Gil Kenan is directing from a script by David Lindsay-Abaire that centers on the Bowen family, whose home is possessed by malevolent spirits, leading to the kidnapping of their young daughter. Rockwell is considering other offers and hasn't made a commitment, but the combination of him and DeWitt would be enough to finally get my interest in this project.

* How hot is Miles Teller right now? Well, he's already bowled over festival audiences with The Spectacular Now, and will likely do the same when the film opens this weekend. And he's just been rumored to play Reed Richards in Josh Trank's reboot of Fantastic Four, so yeah, he's all over the place. But he's still finding time for more, as Deadline reports he'll star in Whiplash, a feature-length version of the short film by writer/director Damien Chazelle. Described as "Full Metal Jacket at Juilliard", it stars J.K. Simmons as a "brutal jazz orchestra teacher who unloads his frustrations on a novice drummer (Teller) who begins to lose his humanity in his quest to become the core skins pounder of the top jazz orchestra in the country." I've been hoping for a chance to see Simmons play another cruel bastard on screen, similar to his Schillinger character in HBO's Oz, and maybe this will be it. Filming begins next month.

* Now that Chloe Moretz has been confirmed to star in RJ Cutler's adaptation of teen novel, If I Stay, the surrounding cast is beginning to come together. Mireille Enos (World War Z, The Killing) is in talks to join the film, which follows a teenaged cello prodigy who goes into a coma after a terrible accident. Having an out-of-body experience, she is forced to make a choice between living a tough life or simply giving up. Enos will play Kat, the girl's spirited mother who is passionate about rock music and her family. [Deadline]

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Trailer Time: 'The Good Doctor', starring Orlando Bloom and Riley Keough

What happened to Orland Bloom? The guy seemed to have it all working in his favor after The Lord of the Rings, but since then he's wasted away in one bad movie or another. Are his angelic good looks holding him back? That's possible, but the real reason is probably that he's not that great of an actor. Playing an elf with a bow and arrow is cool, because we expect him to be a little inhuman, but that doesn't explain why Bloom seems so stiff in practically every other role. His movies now have no buzz, even when Bloom is surrounded by a solid supporting cast.

Such is the case with The Good Doctor, the new thriller from director Lance Daly and co-starring Taraji P. Henson, Riley Keough, Michael Pena, J.K. Simmons, Troy Garity, and Rob Morrow. Bloom, and his unfortunate haircut plays Martin Blake, an enthusiastic and anxious young doctor. While he's handsome and charming, he's really arrogant and has something of a God complex, so it shatters him when things don't seem to go his way. When he successfully treats the kidney infection of 18-year old Diane(Keough), it gives him the boost of confidence he needs. However when she starts to improve, Martin can't let that feeling go and starts to take her treatment a step too far.

The trailer doesn't look all that bad, but there's just one major problem: THEY GIVE THE WHOLE FRIGGIN' MOVIE AWAY! So if you're interested in checking out The Good Doctor when it hits Itunes on July 27th, or in theaters on August 31st, you might want to turn back now....

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No J. Jonah Jameson in Spider-Man?

Amidst the flurry of casting for the upcoming Spider-Man relaunch, one character's name has been noticeably absent: J. Jonah Jameson. Peter Parker's cranky, Spidey-hating boss at the Daily Bugle, played so perfectly by JK Simmons in Sam Raimi's trilogy. You can't really have a Spider-Man movie with the Bugle playing some sort of part, and it's essentially been confirmed that the newspaper will be a factor in the film thanks to set photos like this...

...but IGN has it on good authority that Jameson won't have his chance to snarl about Spider-Man through gritted teeth and chomped cigars. 
"We found out from very reliable sources that...J. Jonah Jameson won't be in the movie. That's right, Spidey fans. We've confirmed that no one will be growling "Parker!" in this 3D reboot. So much for those rumors about John Slattery or Sam Elliott playing him."

Not sure who these reliable sources are, but Jameson is such an integral part to the Spider-Man mythos that I can't believe he'll be left out. While I trust IGN, I consider this info to be little more than rumor for now. Why can't they just bring JK back? Pretty please?

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Review: I Love You, Man

Most quotable film of the year, eh? And what quotes would those be, exactly? "Pop a squizno"? "Slammin' da bass"? Hardly inspired stuff, which is a shame because there is so much here to like. I Love You, Man looks like another one of those Judd Apatow-type flicks with the dorky manchild forced to grow up sooner than he's ready for. But unlike those films, the lead character here, played by the usually solid Paul Rudd is already a man with a girl. He's where most Apatow lead characters are aspiring to finish. The problem here is that he needs to open himself up more and perhaps be a little bit like those other characters in order to be happy.

The problem is that Peter(Paul Rudd) has never been much for hangin' out with guys. He's always gotten along better with women, which to me seems pretty friggin' ideal, but when he finds himself planning the wedding to his ill-named fiance Zooey, the topic of his lack of guy friends smacks them right in the face. Peter has no best man. Peter embarks on a series of awkward "man dates"(which already sounds like a euphemism) in order to find a best friend. Of course these go miserably. That is until Peter runs into Sydney Fife at the open house for Lou Ferigno's home, of which Peter is having trouble selling. Sydney is a master observer. He spots the little things about people that others simply don't notice. He's brash, somewhat harsh, but appears to be a genuinely good guy. He and Peter hit it off and soon become buds over their love of 80's rock band Rush and their love of fish tacos. As the two begin spending more time with each other, this causes inevitable conflict between Peter and Zooey, as she sees him less, and when she does she doesn't always recognize the man she loves.

Director and writer John Hamburg, who previously wrote one of the better "buddy" films in Safe Men really has a knack for crafting witty interplay between dudes. Here he also shows his strength for crafting strong, realistic characters. Some of his scenes, particularly between Peter and Zooey, hit strikingly close to home. I'm thinking about one scene where the two argue about why it's okay for her to divulge their every sexual encounter to her friends, but Peter is in the wrong if he does the same. I've had that conversation, and it's infuriating. I especially liked Jaime Pressley as Zooey's best friend, Denise, who's stuck in a verbally combative relationship of her own.

But the stand out here is Jason Segel. I never thought I'd dig this guy, seeing as I hated him in Undeclared all those years ago and didn't dig him in Freaks and Geeks, either. But he won me over in Forgetting Sarah Marshall last year and here he literally steals every scene from the woefully miscast Paul Rudd. Sydney isn't just the typical a-hole best buddy with no regard for the people around him. This could've very easily been a one-note role, but Segel turns Sydney into by far the most likable character in the film. Even when he's giving the most disturbing toast at a dinner party ever, you just can't hate him. He carries this thing into something worth watching, because otherwise I was going out of my mind with things that annoyed me.

Paul Rudd is terrible here. And it's not completely his fault. As good as Hamburg is at the dialogue between pairings, he's awful when it's obvious he's going for a joke. Peter's clumsiness around guys is exaggerated to a ridiculous degree, to the point of being unbelievable. There are a couple of scenes between Rudd and Segel, in which the scene demands it be played straight up, no going for laughs. I'm thinking in particular of the scene where Peter and Sydney have their big fallout. Segel plays it straight, but Rudd didn't. Ruined it. Paul Rudd is a favorite of mine, but his weaknesses are glaring here. He can't not be funny. I don't think he knows how to dial it back, and it's probably why he's best suited to supporting roles or roles where more isn't demanded of him. Also, Rashida Jones a Zooey? Pretty, but can't act. Andy Samburg, the SNL vet who everybody loves right now for whatever reason? Nice hair, dude. Can't act. Totally unbelievable. Stop trying to look cool in everything. Jon Favreau was okay, but I've never been able to buy him as a tough guy. And don't even get me started on the wasted talents of Jane Curtain and JK Simmons. Why were they even there? Not every bit works, like the subplot with Lou Ferigno or the gay guy stalking Peter. It's all just filler, and adds little to nothing in the ways of laughs.

There are some genuinely funny and inspired moments here, like Sydney's "jackoff station" which was hilarious because...well, every guy has one whether they wanna admit it or not. Except me, of course. But there just isn't enough here that made stood out for me other than Segel, and if I had to compare this falls way short of what Sarah Marshall achieved.

6/10

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