Every film that has ever been nominated for an Academy Award in any category. Enjoy!
Every Man Needs a Sub Dig Guide
A 1950s-set drama centered on the relationship between a charismatic intellectual (Lancaster Dodd) known as "the Master" whose faith-based organization begins to catch on in America, and a young drifter (Freddie Quell) who becomes his right-hand man. After returning from the Second World War, having witnessed many horrors, Dodd creates a faith-based organization in an attempt to provide meaning to his life. He becomes known as "The Master". Freddie, his right-hand man, a former drifter, drifts through a series of PTSD-driven breakdowns. Finally he stumbles upon a cult which engages in exercises to clear the emotions. He becomes deeply involved with them, and begins to question both the belief system and The Master as the organization grows and gains a fervent following.
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…
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 reportedly contains spoilers. I can handle the truth.
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…
I'm going to go out on a limb here and say this is PT Anderson's best film yet. Yes, I think it's even better than There Will Be Blood. It's his most challenging, dense, and assured work to date. It forces you to look inwards in order to connect on an intellectual and emotional level, but it also challenges you to contemplate the entirety of human nature and what drives us. Just like PT Anderson's other films, it's extremely rich thematically, exploring control, power, regret, loneliness, action, belief, and truth. It's dense, but it's rewarding.
To say this film is stunning is a gross understatement. The richness of the picture is something that probably has to be seen on the…
Sex and rage and booze
Make bad bedfellows. Easy
To respect this film.
Every time I watch this film I leave more and more frustrated by its lack of recognition. It would be redundant of me to say it, but Joaquin delivers arguably the best performance of the decade and has certainly proven himself the greatest actor of our generation. Paul Thomas Anderson knows how to build a scene, to develop a world so entirely unique to itself that you can hardly fathom it. The characters in his films are not simply characters to him but rather humanistic embodiments of ever present sentiments and human conditions. He treats them with more respect, and ultimately screen time, than he does their environment and the incidents that are placed upon them in the present. And…
I am a writer, a doctor, a nuclear physicist and a theoretical philosopher. But above all, I am a man, antwoordt Lancaster ‘The Master’ Dodd (Philip Seymour Hoffman) als Freddie Quell (Joaquin Phoenix) hem vraagt wie hij is. Mannen staan altijd centraal in de films van Paul Thomas Anderson. Ze hebben de grootste moeite hun driften in toom te houden. Van alle personages is Freddie is het hevigst gedreven door zijn seksuele behoeften. Het is geen toeval dat de helm op zijn hoofd in de allereerste scène van The Master verdacht veel lijkt op de top van een fallus. Een paar scènes later ontdoet de marinier een palmboom van twee kokosnoten. The Master gaat over castratie. Master Dodd probeert het dier (de draak, zoals hij het zelf noemt) in zichzelf te temmen door de dierlijke Quell te temmen.
Volledige recensie: gert01.home.xs4all.nl/themaster.html
Paul Thomas Anderson’s The Master is an enigma at which to marvel. It consists of virtuoso acting framed within stunningly crisp and gorgeously vibrant filmmaking, showcased by a confounding narrative. It is beautiful to behold, often mutely passionate, and finally…cold to the touch. If at first your hand closes on air, try try again. Imagine not precisely a narrative but a greatly designed cinematic Rorshach test and you may begin to acquire some inkling of what Anderson is up to here.
When we first meet Freddie Quell (Joaquin Phoenix), he is a Naval officer during World War II, eyes and helmet barely peeking out from some obscuring surface. This is appropriate as he is a figure difficult to pin down…
The movie is nice to look at. The colors are incredibly vivid and are pleasing to the eye. The performances were all top notch (especially Philip Seymour Hoffman). However, when I had finished, I kept asking myself, "Why?". It seemed, to me, to really lack a coherent point.
I’ve always cited my favorite Philip Seymour Hoffman performance as his supporting role as Brandt in The Big Lebowski, but this masterful display might just change that. Joaquin Phoenix is also unbelievably convincing, and I've never seen better looking water in any film ever lol. While not my favorite from PTA it’s his most dense, challenging work yet and the best film of 2012. I absolutely cannot wait for Inherent Vice later this year.
"He's making all this up as he goes along. You don't see that? I could go to sleep for hours and when I woke up I wouldn't have missed a thing."
Um bom filme, muito mais pelas atuações dos atores do que realmente a história contada.
A second viewing does wonders for this one.
- The Racket
- 7th Heaven
- Sunrise: A Song of Two Humans
- Chang: A Drama of the Wilderness
- Eyes Wide Shut
- Speed Racer
- Marie Antoinette
- Spring Breakers
Peeping Tom, Night of the Hunter and a whole host of older films were ignored or given bad reviews upon…
- Only God Forgives
- Fear and Loathing in Las Vegas
- Spring Breakers
- A Field in England
Recently, I've become aware that certain films are able to transcend the medium by being completely self-assured in their atmospheres…