Recently, I've become aware that certain films are able to transcend the medium by being completely self-assured in their atmospheres…
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…
Delirio psicótico de un personaje grandioso, que se traduce en la relación de dos personajes atrayentes en su egoismo, seducción y escasa preocupación por el otro. Una obra de arte de la locura.
If there was ever a film that called for repeat viewings, this would be it.
I have seen this film several times and yet it still astonishes me.
This film is unfathomably great. Each frame. Each performance. All is flawless.
The score by Jonny Greenwood is truly exquisite.
Paul Thomas Anderson has so much to say, yet he says it with such subtlety and grace.
This might be the most profound film I have ever seen. Each repeat viewing reveals a new layer of meaning.
The performances from Joaquin Phoenix and Philip Seymour Hoffman are nothing less than magnificent.
Amy Adams is mesmerizing in this role.
The cinematography is among the finest ever captured on film. Each frame is breathtaking…
SHOULD REWATCH THIS MOVIE
DIDN"T LIKE IT VERY MUCH FIRST TIME, BUT I GOT A FEELING IT'S BECAUSE I SHOULD WATCH IT AGAIN
the thing that struck me most about this Serious Movie was how exceedingly funny it is - two grown articulate men resorting to juvenile humour amongst the grandiose posturing. wild animals at heart, searching for a purpose in life; both attempting to master it when none is offered. the fact anderson shoots in close up so much makes it clear how strong the actors are, every little flick of the eyebrow or wrinkling of the chin is like a tectonic shift, underlining or undoing the words that accompany. i remember much of the build up revolved around this as anderson's commentary on scientology, but just as he doesn't delineate the morals of pornography in boogie nights, he doesn't really evaluate here to a level some thought he would, instead focusing on two men; seemingly different but actually the same, searching to master the time given to them by whatever methods available.
Masterfully executed movie that left me unaffected.
And am I the only one who notices that all PTA movies end in grown men shouting at each other?
I think people may have walked out of the screening I was at, and people were definitely leaving the theatre unhappy. And the cinema I saw it at definitely had the right crowd for the movie.
The ambiguous route seemed to work for his last movie, and gave some interesting moments here, but I really hope he's done with it and gets back into some firmer form of narrative storytelling. Because I was leaving the theatre really trying to understand the film from Anderson's point of view, the reasons why he made the film, what he was trying to say in one of the first scenes with that strange tune from Ella Fitzgerald quoting the bible "get thee behind me,…
This is what Tom Cruise believes lol
- Only God Forgives
- Fear and Loathing in Las Vegas
- Spring Breakers
- A Field in England
- The Racket
- 7th Heaven
- Sunrise: A Song of Two Humans
- Chang: A Drama of the Wilderness
Every film that has ever been nominated for an Academy Award in any category. Enjoy!
- 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…