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J.K. Simmons

J.K. Simmons is an actor, born 1955.

J.K. Simmons has been working since 1986 and has over 200 screen and stage credits, a number that only accumulates if a performer is genuinely easy to cast. He came up through theatre and spent the 1990s in the parts character actors get: cops, feds, doctors, a bureau man in The Jackal, a fixer in The Mexican.

The role that made him legible to everyone was J. Jonah Jameson in Sam Raimi's Spider-Man, played at the exact pitch of a 1960s comic panel, all barked half-sentences and cigar-chewing contempt, and he has now played that editor across three separate continuities. It is a comic performance, which is partly why the reaction to Whiplash was so violent. As Terence Fletcher, the jazz instructor who abuses students in the name of greatness, Simmons applies the same volume to something with no joke underneath it, and the film never quite lets you settle on whether the method works. That won him the Academy Award for Best Supporting Actor, and he was nominated again for playing William Frawley in Being the Ricardos.

The specialty is what he does with an unpleasant man: he plays certainty rather than cruelty, so the cruelty arrives as a side effect. It also means the kind roles register harder. Mac MacGuff in Juno is one of the best-written fathers in American comedy and Simmons plays him largely in reaction shots. Alongside all this he has built a substantial voice career, from Kai in Kung Fu Panda 3 and Tenzin in The Legend of Korra to a superhero patriarch in Invincible whose calm is the most unsettling thing in the show. He also holds a BAFTA, a Golden Globe and a Screen Actors Guild Award.

Movies (106)

TV (33)

Where to start with J.K. Simmons

Begin with Whiplash. It is short, it is built around two people in a rehearsal room, and Simmons turns a music teacher into something closer to a horror presence without ever signalling that he knows it.

Then reverse the polarity with Juno, where he is warm, wry and completely unshowy, and La La Land, where he gets one scene and walks off with it. Spider-Man carries the Jameson performance people quote, its 2004 sequel sharpens it, and Spider-Man: Across the Spider-Verse proves he can still land it as a cartoon. Thank You for Smoking and Burn After Reading are the two comedies that best use his gift for institutional idiocy delivered with total conviction.

If you want the voice work, INVINCIBLE is the one, and it is arguably the most interesting thing he has done since the Oscar.

The Simmons performances with no floor

Whiplash is the obvious one and it is genuinely unpleasant in the way it intends, a performance with no reassuring note anywhere in it. The Accountant and Justice League use the same authority more conventionally, and Palm Springs quietly hands him the saddest thread in a comedy.

J. Jonah Jameson, the most comic-accurate casting ever done

He played the part in 2002 exactly as drawn and came back to it two decades later in a different universe, which almost never happens. The Raimi trilogy is where the character is funniest, and No Way Home proves the joke still lands on an audience that grew up with it.

Simmons being warm, which he rarely gets asked for

The shouting is the brand and the gentleness is the surprise. Juno gives him the best father in a decade of American comedy, Klaus is pure warmth, and Zootopia and Kung Fu Panda 3 use the same authority for characters who end up kind rather than frightening.

Genres J.K. Simmons works in