The greatest films of all time as voted on by the Criterion subreddit using a ranked top 10 methodology from…
Every Man Needs a Sub Dig Guide
An agitated Naval veteran arrives home from war unsettled and uncertain of his future - until he is tantalized by The Cause and its charismatic leader.
It doesn't happen often that all elements of what comprises film reach such a high level as with The Master. It brushes with perfection on so many an occasion which left me in complete awe for everyone involved in making this, but mainly because of the three main offenders; Phoenix, Hoffman and Anderson.
Paul Thomas Anderson is unmistakably a unique, powerful and resounding voice in cinema. Whenever he creates, something happens among lovers of film. Whenever he speaks through this wonderful medium I just have to listen. And while not all of his tales are equally impressive, they are always unique in style, content and themes. I find it amazing that a director who has received so much acclaim…
Paul Thomas Anderson is The Master. He is a filmmaker with grand visions, a director whose loyal followers pour over every word and dissect every scene and a writer who explores the failings and extremes of Man. Above all he is a hopelessly inquisitive man always striving forward and never burdened by contemporary fashion. And just like Lancaster Dodd, the charismatic false prophet at the centre of this film, his latest work is his most challenging, dense, contradictory and elusive to date.
Each new Anderson film is accompanied by unrealistic expectation. It would not be hyperbole to suggest he is one of the last truly great American filmmakers still at the peak of their creative powers. Yet with such a…
Close your eyes.
Recall a word.
The restless ocean that looks so calm from afar, like Freddy Quell who mumbles his sentences as he speaks but upon closer inspection, has a tremendous amount of energy balled up inside him ready to be released, a nuclear core of a human being.
What do you hear?
Two drunk men talking to each other. One asks the questions and the other one answers. That's it. No flashy camera movements, no breathtaking scenery. Paul Thomas Anderson used only a conversation, close-ups and some over the shoulder shots to craft one of the best scenes of all time.
Recall a word. Any word.
Two masters, in fact. Joaquin Pheonix's face crumples and…
I'm not sure at this point that I can actually separate the circumstances under which I saw this film with the film itself.
When I got to the theatre, I wasn't expecting to see The Master. I had bought tickets to see Baraka in 70mm; I knew that there was a sneak peek going on that day, but I had assumed it was happening later, after Baraka. It wasn't until I picked up my tickets and the ticket lady asked if I was excited or bummed out, that I found out that I was about to get to see The Master.
Sitting in the audience, I wondered, how crazy would it be if PTA were there?
IT WAS REALLY FUCKING…
This review may contain spoilers. I can handle the truth.
Freddie is a bad dog. He keeps running away from home. He stumbles on a new master who loves him very much and tries to teach him to behave. Freddie loves his new master very much too, and tries to learn new tricks for him. Unfortunately, the call of the wild proves too much for Freddie and he runs away again. After a time, he returns to the master he loves so much only to find that his master has made the very difficult realization that Freddie will never be happy on a leash. And so Freddie's master has to let Freddie go. Freddie is sad to leave, but realizes that he can survive in the wild. Freddie is loose, Freddie is happy, Freddie is his own master now.
I find it hard to step back and take a critical look at The Master (or any of Paul Thomas Anderson's films, for that matter). Sometimes, films (or albums, or novels) just resonate with you, and you become emotionally attached to them. Sometimes you latch onto them so tightly that it takes years for the joy of the experience to fade and you can appropriately and fairly judge them. Your mind hears other people's criticisms and works to defend them, however tangential, frivolous, and contradictory those defenses might be. That feeling has not yet faded for Magnolia, so I think I've got a few more years of The Master-worship in me.
The most common complaint…
Still collecting my thoughts, but also wondering if this isn't the most mesmerizing use of blues ever put on film.
After three viewings of Paul Thomas Anderson’s The Master in cinemas, it’s still difficult to really express how I feel about this melancholic love story. There's a case to be made that it's the finest film Anderson has ever made, and that's saying something, as his There Will Be Blood (2007) and Magnolia (1999) are two of my favorite films of all time.
In the opening of the film, Freddie Quell (Joaquin Phoenix) leaves to be a seaman in World War II. His sweetheart, Doris, writes to him, but he never writes back. At war, he is restless and at odds with the other men in his company. His behavior is perverse and immature. But beneath his embarrassing sexual behavior…
gahhhh so good i love you pta
Paul Thomas Granderson
All I remember from this is PSH calling someone a Pig Fucker and Amy Adams's character giving him a handjob.
FIVE STARS! (actually only 2 and a half)
The Master is a flawlessly made film all round. The direction, the writing, the acting, the editing, the production design, the cinematography, everything about this film is so beautifully realized and well done. The performances are honestly some of the best I've ever seen. Joaquin Phoenix is honestly breathtaking in this film, Phillip Seymour Hoffman gives an incredible performance and Amy Adams is also amazing in this film. The direction by Paul Thomas Anderson is pretty much flawless and the cinematography is outstanding. The Master is such a different film and that's why I loved it so much. It's masterfully crafted (no pun intended) with outstanding performances and flawless filmmaking. The Master is powerful storytelling at its finest.
The Master might be (very) hard to follow, but it still is a PTA film, which means it's perfect in every area and never boring despite being lost at various points in the movie.
santa monica, ca
finally got to see this greatness on film in 70mm, i'd been waiting
for a replay forever, so thank to Q, for making the aero do a 70mm revivial
series, even though they play a lot of 70mm already, this was a nice
addition. : )
i really like this film a lot, it's so fucking good, it makes me forget punch drunk love. well. almost.
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