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
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…
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.
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…
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…
joaquin phoenix continua a fare film che non capisco del tutto, ben pesante
There is just something about Paul Thomas Anderson's filmmaking that makes him one of the best directors working today. It is just the way he makes his films dark and gritty even without that kind of plot, or those kind of actors. He always manages to pull off what he expects, and he does it exceptionally well. I understand how people don't get brought into how it runs and find it boring, but I was sucked in perfectly and I held tight for two hours and never let go. The quiet moments between dialogue leaves the audience with ambiguity and curiosity, allowing them to think for few seconds before the character's start talking again, and I think that that is…
Joaquin Phoenix's sex-mad sailor falls under the spell of a charismatic New age evangelist (Philip Seymour Hoffman) in Paul Thomas Anderson's occasionally affecting but uneven follow-up to There Will Be Blood.
The Master' can be seen as the story of a sect or as the relationship between two men, master and apprentice, friends, however you'll like to interpret it. For me it is a portrait of loneliness and disorientation, searching and suffering, of souls who need peace and about the human being. It is curious the choice of the main character, Freddie Quell, which gives life an amazing Joaquin Phoenix delivered in body and soul to the film. P. T. Anderson places the action after the World War II and focuses the gaze in a military veteran who returns to USA through a speech, understanding and hopeful they speak to the soldiers on the future that lies ahead of them, that…
I didn't like this one. Next time Paul
Paul Thomas Anderson ist durchaus für sperrige Werke bekannt und 'The Master' macht hier keine Ausnahme, doch verrennt sich der Ausnahmeregisseur hier einmal zu oft in einem Gros an Ideen, die er jedoch samt und sonders nur anschneidet, statt sie bis zum Ende durchzuexerzieren, was sich insbesondere bei Amy Adams‘ Rolle bemerkbar macht, wohingegen es Joaquin Phoenix und Philip Seymour Hoffman gerade im gemeinsamen Spiel gelingt, Akzente höchster Schauspielkunst zu setzen, die allein schon sehenswert wäre, doch tröstet dies nicht darüber hinweg, dass die Geschichte kaum einem roten Faden folgt und auch recht unbefriedigend ihr Ende findet.
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Quite misunderstood by me...
Master class in acting
But the story had me thinking something epic was coming and it never really did so I couldn't go as far as saying this is a perfect film
"If you leave me now, in the next life you will be my sworn enemy. And I will show you no mercy."
This is such an elusive and dense piece of work that I don't feel comfortable tackling it in any depth until further rewatches. For now I will just say that after an interestingly elliptical first half-hour, the film has me deeply enthralled from the first processing scene between Dodd and Quell until the end. And Philip Seymour Hoffman is in absolute god mode here; we've really lost the actor of this generation.
Every film that has ever been nominated for an Academy Award in any category. Enjoy!
Many favorites, as well as a small handful of films that I don't care for... in no particular order (1960-2014).