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…
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…
This review reportedly contains spoilers. I can handle the truth.
I was honestly disappointed in this. I have been blown away by other P.T. Anderson films, particularly Magnolia. This film was underwhelming, and two weeks after watching it it's mostly fled from my memory. The performances are excellent, but I can't say the story drew me in, and the characters weren't particularly interesting. I wish it had spoken to me more than it did.
"I wish I could fart because I'd fart in your face right now."
That line comes from Freddie Quell, but it might as well been said by Paul Thomas Anderson who's The Master is a fart in my face. It was my most anticipated film of 2012 and PTA was one of my favorite filmmakers which made the film all the more disappointing when the film turned out to be the first mediocre film from him.
The movie is about the relationship between alcoholic former sailor Freddie and bullshit spinner and L. Ron Hubbard stand in Lancaster Dodd. Anderson has even said that while editing, he whittled everything down because he realized it was a love story between the two…
why does he drink paint thinner
Tough to know what to make of a movie like this. I found it really interesting to watch, to say the least.
After leaving the theater I pretty much never thought about this movie again.
It's beautifully shot and well acted but I found it rather incomprehensible and just didn't understand it. To me there seemed to be a scene missing that would somehow explain the key relationship in the film. As a result I can only say that I was left disappointed and it simply didn't work for me.
A story about an out-of-control jerk who meets a control-freak jerk, and then they get hammered on homemade hooch and wrassle and fall in love.
And then the first one's dick falls out of a lady.
That about sums it up.
Mejores comentarios escuchados a la salida: "Yo cojo una cámara y hago esto", "Me esperaba más acción", "Ay, qué angustia".
Solo estoy de acuerdo con el último, pero no sé si en el mismo sentido.
Have you ever lived before?
I don't know.
Is this your only life?
I hope it isn't.