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…
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.
Quite the religious experience, pun intended. A lot of filmgoers and die-heart fans of P.T.A are torn over this movie, but if there is anything to mention of what this film truly masters, is it's visual scope. It's arrestingly beautiful. It doesn't have the exuberance of Robert Elswit, but this isn't the type of film that called for exuberance to begin with. The Master forces you to sit back and take it all in. But, common to all P.T.A films, the acting, once again, shines so piercingly bright. Phoenix is mesmerizing, Amy Adams is breathtaking... Phillip Seymour Hoffman, gloriously chews up all of the scenery. I truly consider this his swan song. His last incredible performance.. and not because it…
This film is just too tricky to write about. There's so many ideas, so many layers that I don't even know where to begin. I attempted to write this review last night but I did't even know where to start. So I slept on it. And I still don't have anything but directionless thoughts in my mind. So instead I thought I'd just ramble about the film and hope something coherent comes out. It probably won't. This will basically just be a braindump of ideas that possibly (probably) won't make much sense, so I apologise in advance.
What a character Freddie Quell is. Honestly one of the saddest depictions of someone's desperate attempt to live a normal, happy life I've…
Okay, Paul. Happy birthday, you're one of the greatest filmmakers ever.
Thank you for making Chris Masters unworthy of calling himself "The Masterpiece" (there are other filmmakers who make him unworthy of that too, not just PTA).
It's really hard to choose PTA's best film. They're mostly all either great (his filmography), really good (Inherent Vice, Hard Eight/Sydney), or criminally underrated (Punch-Drunk Love).
This was the first film I ever saw from PTA. I first saw it about a year or so ago. I was close to graduating Middle School. I remember having some mixed feelings on it the first time. I was still fascinated by it, so I really put a lot of my time towards watching it (a…
The Master opens with a beautiful shot of the wake of a ship, shot in 70mm and colour graded to absolute perfection. This is a recurring image throughout the film and in Freddie Quell's (Joaquin Phoenix) life. After the horrors of fighting the Japanese with the navy in WWII, Quell drunkenly stumbles onto another ship, the commander of which is Lancaster Dodd (Philip Seymour Hoffman).
This opening shot is important not only because of the image it shows and what it represents, but also as an opening example of the cinematographical feast to be had in The Master. The colours are gorgeous, the composition impeccable. Every time the camera cuts to a new scene you are reminded just how talented…
Imagens lindas, atores ótimo, personagens diferentes.....história extremamente confusa
♫ I'd love to get you on a slow boat to China, all to myself... alone ♫
Finally! My first re-watch of this since I initially saw it in the theatre. I knew I loved it but I was really unable to articulate why back then; I probably couldn't really explain it now either, but I got a TON out of it the second time.
The plot (if any) is more concise to me now. Also, many claim this to be Paul Thomas Anderson consumed with too many ideas and I largely disagree. I would easily rank this up there with THERE WILL BE BLOOD and MAGNOLIA.
Mais um dos belos filmes feitos pelo Paul Thomas Anderson. Com ótimas atuações, um dos últimos papéis de Philip Seymour Hoffman.
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).