Damien Chazelle's second feature "Whiplash" is an assured music drama with a lot of energy and great performances.

However, the overall plot is questionable, at best, and it is sometimes hard to believe that any of these circumstances would ever occur.

The film, starring Miles Teller and J.K Simmons, tell the story of Andrew, a promising young drummer who enrolls at the top music conservatory in the U.S. where he dreams of greatness. However, his dreams are halted when he is mentored by Fletcher, a ruthless and aggressive instructor who will stop at nothing to realize a student's potential and make him great.

The film's biggest assets are definitely the editing, music and performances.

Simmons gives one of the most impressive performances of the year as Fletcher. Simmons uses his charisma to create a likable yet hateful character. While audiences will certainly hate him when he yells and even slaps Teller's character, his best moments are those when he most is subtle. For instance when he hears that one of his former students committed suicide, Simmons brings pathos to his dialogue and it is a moment where one forgets the type of professor he is. Another moment is when he plays the piano in a jazz club. Simmons doesn't say a word, but it is evident from his facial expression and his enraptured movements that he is completely absorbed by the music. It is hard to hate him in these particular scenes as there is a clear humanity behind the beast.

Simmons can also be unpredictable especially with his interaction with a little girl before a competition. He is kind and fatherly, but the next moment he is blurting out insults to his students.

As Andrew, Teller brings his usual charismatic persona that he has become known for. However, the best moments in his portrayal are those when he isn't snarky or egocentric. Instead, they are when he is silent, particularly the intense drumming practice sequences. Through Teller's face, it is evident that this character is suffering and insecure. One of the film's best moments is during Andrew's first class with Fletcher. After Fletcher humiliates him, Teller's face showcases pain, fear and anger. It is definitely one of Teller's finest moments thus far in his young career.

The music is also incredibly moving, robust and gives the film a fast pace. The use of Duke Ellington's "Caravan" and Hank Levy's "Whiplash" are of course the standouts in the score. However, Justin Hurwitz's original jazz music seamlessly blends with these great classics.

Editing-wise, Chazelle's use of close-ups in the musical performance and quick cuts coupled with dolly movements allow for some very spirited sequences and also brings out the tension in some of the more intense scenes. One of the most memorable scenes visually is Andrew's first class in Fletcher's studio band. Chazelle cuts to Andrew as he views the rest of the players warm up, set up their instruments and then they quickly stop all their activity when Chazelle cuts to a door abruptly opening with Fletcher's feet in view. It adds some suspense to the proceedings and immediately characterizes Fletcher's personality.

Another incredible sequence is the final drum performance by Andrew. Chazelle is able to show off the musical performance through his fast cuts, but what is so marvelous is how he concentrates on the emotional state of Andrew and Fletcher and their change throughout the performance. It is truly one of the most cathartic moments in the film, but unfortunately, it's one of the many problematic portions, as well.

While the film is enjoyable, once you get out of the auditorium, it's hard not to question the whole plot.

WARNING: PLOT SPOILERS AHEAD

For instance, during that final concert, Fletcher reminds all the musicians that the audience of Carnegie Hall never forgets and a performance in this venue can make you or break you for the rest of your career. However, that does not stop Fletcher from getting revenge on Andrew. Fletcher decides to add a piece to the program and does not give it to Andrew. He is intentionally sabotaging Andrew and setting him up to fail.

It seems completely contradictory, especially since Fletcher is putting his career on the line also by allowing such behavior.

But the biggest issue with the entire film of course is the whole premise. How is it possible that a professor can continue to work at the most prestigious university by hitting students, throwing things at them and then using gay slurs? Wouldn't someone say something? One of the most unthinkable scenes is when Fletcher has his students until 2 a.m. because they cannot get a drum part. Music teachers are intense, but this seems like an exaggeration of the circumstance.

Another implausible circumstance is that Andrew gets into an accident and suddenly gets up from a car that has just flipped over. It may happen, but it is unlikely that the person in an accident could just run as if he wasn't hurt.

Then, there is the introduction of a girlfriend that disappears early on in the movie. Chazelle certainly deserves credit for trying to go against the grain and avoid the romantic subplot, but in this case it feels like a huge missed opportunity to develop Andrew's character. The need to have introduced such a character seemed to be unnecessary in the grand scheme because the relationship never went anywhere. The character had a total of four scenes and it almost felt like a time killer. While it could have been an interesting relationship and could have functioned as a support system for Andrew's suffering and pain, it ultimately felt like a lost opportunity.

Andrew is obsessed with being the best jazz drummer and this leads to some of the most exaggerated conversations that constantly lead to name dropping. Fletcher constantly uses a story about Charlie Parker growing to fame after getting a chair thrown at him. While there is certainly a romantic quality to this story, the amount of times it gets repeated throughout the film as a justification for Fletcher's psychopathic behavior becomes burdensome and loses its credibility. "The Lady doth protest too much," one might intuit from the redundancy of the comment. Sadly, it is the film's only real argument for Fletcher's behavior and a rather unconvincing one.

Another overindulgent circumstance is during a dinner with Andrew's dad and some friends. Andrew comes off as a selfish boy who undermines everyone else. The same thing happens when he breaks up with his girlfriend. These conversations come off so unrealistic and it almost feels like we are in a fantastical world.

Perhaps if this film was trying to be a fantasy or action movie it would be a bit easier to believe. However, it deals with issues that most teens and college students face and in that context, the overall plot comes off as outlandish despite its entertaining nature.

To use a musical analogy, it almost feels like Chazelle is simply trying to play all the right notes as loud as possible to win over his audience, even if the nuance or phrasing of the work is largely ignored. Those looking for excitement will love it. But those who want richer qualities with depth (aside from the tremendous performances) will be hugely disappointed by "Whiplash."

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