The best that cinema has had to offer since 2000 as picked by 177 film critics from around the world.…
Every Man Needs a Sub Dig Guide
Freddie, a volatile, heavy-drinking veteran who suffers from post-traumatic stress disorder, finds some semblance of a family when he stumbles onto the ship of Lancaster Dodd, the charismatic leader of a new "religion" he forms after World War II.
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…
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'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…
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…
Самый исчерпывающий фильм обо всём.
Well I think I would have enjoyed this one, wasn't its pace soooo annoying. The general idea and the performances seemed good. Just didn't catch my attention and led me to several naps. Maybe on a second watch.
I don't know how to describe it
The first 90 minutes were like a ride that kept going and going and never stopped and it was gorgeous.
Also I yelled when I saw Laura Dern
amy adams is a god, know this
I want to act like Kanye West and scream to the masses that this is one of the greatest films made. But I cannot, so, here we are. PSH is a master of cinema and he will be missed.
Paul Thomas Anderson delivers maybe is most well made movie, Hoffman is incredible, Pheonix is on a level I haven't seen in awhile.
After a rewatch this is actually my favourite movie ever. Phoenix's and Hoffman's roles in this movie are probably the best I've ever seen. Beautiful cinematography and music aswell. The script is one of the best I've seen on a movie. The line in which Hoffman says "If you figure a way to live without serving a master, any master, then let the rest of us know, will you? For you'd be the first person in the history of the world." Is one of the best lines in cinema ever.
I read somewhere that this film is a love story between Lancaster and Freddie. Reading the film this way makes so much sense and brings a beautiful and heartfelt feeling behind many otherwise bizzare scenes.
The film is long with no clear plot so if you don't have the time to sit down an appreciate a well acted, well made film such as this you may find it dull, however this is a complex film that deals with a lot of complex characters expertly.
I have so much time for this film
Shockingly, breathtakingly good. Two titanic performances are flanked by masterful cinematography, a powerful Jonny Greenwood score, and a dizzying puzzler of a script.
The narrative thrust here is a tumultuous, misshapen love story of two antithetical men clashing and melding, in the same way that mankind struggles against its base nature, and it ends with an exchange of roles. Or is it truly impossible for a man to escape a master? And is it necessary to create a master where none exists?
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