Every film that has ever been nominated for an Academy Award in any category. Enjoy!
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…
Paul Thomas Anderson's The Master is the director's second worst film (of those I have seen - I'll be watching Boogie Nights soon). It is not quite the near-perfect masterpiece I thought it was on first viewing, though I still knew I'd have to see it again to know for sure what I thought.
Joaquin Phoenix's performance as Freddie Quell, the damaged World War II veteran who is taken under the wing of charismatic cult leader, Lancaster Dodd (Philip Seymour Hoffman in arguably his best performance), is much more 'human' than I thought it was the first time. By the end of the film, Freddie is ready to let people in, and Phoenix conveys this perfectly. It's a much more…
I think Ebert summed it up nicely:
"Paul Thomas Anderson's 'The Master' is fabulously well-acted and crafted, but when I reach for it, my hand closes on air."
Whatever level PTA was operating on when he wrote this script, it's sure as hell over my head. The movie is ambiguous to a fault. See, in most movies, even if you're lost for a little while, eventually you find your footing and follow along for the ride without worrying about little details you can't fully explain; in The Master, there's no such grounding. You end up watching the movie in a kind of detached way, just taking it one scene at a time and only making sense of it in the…
I seem to get something new out of this film every time I watch it. Being the first time since the death of Hoffman, his already perfect acting had added impact, which seemed the case for most of the crowd. Some people applauded after the first processing scene between Hoffman and Phoenix while almost everyone clapped when his name came up during the credits.
Seeing it for the first time in 70mm was just as beautiful as I dreamed. It magnified the flawless cinematography and showed just how perfectly each shot is framed. One thing I noticed more of this viewing are how the two sides of the screen are often either at odds with each other or stark contrasts, showed obviously during the processing and prison scenes and more subtly when the camera is on the railing of the boat with people walking on the deck on one side and the roaring water on the other.
"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."
Waited for this to be screened on 70mm before I saw it. I somehow kept missing it when it was originally out. Definitely worth the wait. What a fantastic movie.
Brilliant performances. Very interesting plot. Well made. Odd.
This is my second viewing after having seen it upon release on glorious 70mm film. It's still a visually appealing on bluray but not anywhere near as stunning as seeing it in that format of a sold out theater. I'm still not sure exactly how I feel about this film, the acting is great and the characters are all interesting. The processing scene has to be one of the most amazing scenes in recent years. I like this movie but I just can't put it up there with PTA's other films yet(besides Hard Eight which this film easily surpasses). Still need more time to digest it.
RIP Philip Seymour Hoffman.
I'm glad you're still alive, Amy Adams.
- The Racket
- 7th Heaven
- Sunrise: A Song of Two Humans
- Chang: A Drama of the Wilderness
- Only God Forgives
- Fear and Loathing in Las Vegas
- Spring Breakers
- A Field in England
Recently, I've become aware that certain films are able to transcend the medium by being completely self-assured in their atmospheres…
- 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…