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…
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…
It wasn’t until months after I saw this film for the first time that I realized its brilliance. I knew it looked great, was well acted, and since it’s Paul Thomas Anderson I erred on his side as to how profound the commentary was. But it wasn’t until I heard him speak about the film did I feel I had grasped it – at least somewhat. To me, it’s a film that has a lot to say. It’s a film about a man who constantly strives to be profound. It’s also a commentary about a primitive human being, who most people might be able to (somewhat) relate to, attempting to be civilized by religion. And it’s as much a commentary…
extra half a point for the boat scene.
Ah, there it is. The Master needs to be viewed more than once in order to try and grasp what is going on here. And even though I am still working on it, I feel much better about this film overall than I did the first time around. Paul Thomas Anderson is the best American director working today, and this is suitably fine work from him. Excellent performances, especially from Joaquin Phoenix and Phillip Seymour-Hoffman, what a loss he was. Gorgeous film.
A lot of people crave about Paul Thomas Anderson's work... I am not one of them. A lot of people will say "There Will Be Blood" is a masterpiece, I would disagree, it was a really good film though. This film, "The Master", staring Joaquin Phoenix and Philip Seymour Hoffman, is a really good film as well.
A WW2 veteran(Phoenix), befriends a cult leader(Hoffman). They form an unusual relationship, as the Master tries to "save" this Joaquin's character.
+ Stellar acting, Joaquin Phoenix is at his best...again!
+ Well written, a good story
- Hated the music
- Thought Amy Adams was underused
- Felt a little messy at times
- Did not feel satisfied with the ending
Definitely worth a watch!
Direction - ★★★★½
Acting - ★★★★★
Writing - ★★★★★
Cinematography - ★★★★½
Music/Score - ★★½
Editing - ★★★½
Sound - ★★★★
"Doris, she got rid of you, right? She saw you for what you are, selfish, and alone. You should go into the hospital with your mother because that's where you belong, cause your sick, and you're tired, and you need to be alone, away from people."
Faces as landscapes
Not until half-way through did meaning become real for the protagonist, nor did it for me. I felt spoken to by the shout in the jail that I was still asleep, and I felt guilt. I had not paid attention.
Disappointed. An empty plot with very little value. Great actors and an incredible production from cinematography, soundtrack and wardrobe, but the storyline just ruins it.
The Master, much like Freddie's relationship with Doris, is tantalizingly out-of-reach. It explores loss and desire in painfully visceral strokes, existing as an object of time that can be picked up and put back down. Nothing substantial happens in a narrative sense. It's a time hole of etched faces and lost souls, burdened by its historical context to an almost spooky end. The deaths of actors Christopher Evan Welch and Philip Seymour Hoffman continue to inform its contours, enveloping itself in a meta-universe steeped in death and ghosts and longing.
Certain scenes, lines of dialogue and glances exchanged are given no explanation, and continue to live on in my head. The Master is a living, breathing entity, resistant to any…
- 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…