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…
Put your worries aside for a while. They will be right here waiting for you when you get back.
Two stars for the two stars.
The Master is a rare film, so luminous and charged it seems to be shedding electricity for most of its duration.
It achieves this incredible energy via the interplay of three fearsome talents: director Paul Thomas Anderson, star Joaquin Phoenix, and cinematographer Mihai Mălaimare, Jr. Watching the film for a second time, I got the impression of a perfect, unguarded unison between these three creative forces. It's so inspired and so lucid that when they stray even a little outside of that heightened harmony, all the magic of it seems to go dark. For me this happens mostly in the last act, the portion of the film that shows Freddie Quell (Phoenix) attempting to rehabilitate himself back into society. But…
I don't know whether or not I liked this movie, and it's confusing the hell out of me.
When the film finished, the thoughts running through my mind went as follows:
"I can't remember the last time I saw two such excellent performances from the lead actors. The way Phoenix and PSH act together is like watching two men try to one-up each other while simultaneously working together to compliment each other's acting styles. They both deserved awards for this. Masterful acting.
The film looked beautiful. Each frame looked like a mesmerising photograph, telling it's own story while still fitting with the rest of the narrative. Stunning cinematography.
The music is wonderful, haunting and completely fitting to whatever is happening…
[Blu-ray] Keeps getting richer and deeper and more haunting. Really struck by Joaquin's performance in this...the physicality of it. He looks so gaunt and bug-like but then lashes out like a cornered animal. And that twisted way that he chose to speak, reminded me of Heath Ledger's muffled approach to Ennis Del Mar in BROKEBACK MOUNTAIN. Both characters hiding these vast wells of pain within their persons that they are unable to express, so they spit their words out unwillingly. It also made me miss Philip Seymour Hoffman all the more. What a giant he was.
Definitely the most idiosyncratic and elusive of Anderson's films, it may also be his finest. The film has themes but no dominant one, and indeed, many of its ideas, similar to its titular character, seem to contradict themselves. Maybe it's about faith. Maybe it's about love. Maybe it's about sex. Maybe it's about the American dream. I know that it is beautiful with wide, honest shots of churning water that feel both distinctly American and more universal. I know that PTA's intelligent filmmaking is supreme, that their is a purpose and decision to every shot. I know the film also aches of raw human emotion and hurt; look no further than the anguish on Phoenix's face during his processing, or…
PSH's last scene had me on the verge of tears this time around.
"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."- Lancaster Dodd
To finish up my Paul Thomas Anderson marathon I watched his most recent film, The Master. Prior to this I had watched Hard Eight, Magnolia, and Punch-Dunk Love for the first time and watched Boogie Nights and There Will Be Blood for the second time each. My marathon was going very well so I expected that I'd like The Master, and I did. Unfortunately I didn't like it as much as I'd have wanted to. From a technical standpoint the film is a masterpiece,…
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Recently, I've become aware that certain films are able to transcend the medium by being completely self-assured in their atmospheres…
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Peeping Tom, Night of the Hunter and a whole host of older films were ignored or given bad reviews upon…