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…
Part Seven of Preparing (As Much as Humanly Possible) for Interent Vice
Some Slight Spoilers Ahead
The waves. In and out. In and out. Constantly flowing. Changing, Swiftly moving and adapting to the movement of the sea. Boats and ships go against the tide, going their own way and avoiding the consistent flow of the ocean.
Although the ships go their own way, Freddie follows the tide. He goes where he wants, he does what he wants, and his yearning for something more is constantly knocked down by his own doing. I think that's why he's such a tragic and fascinating individual, one that constantly reaches out for emotional connection, only for that very connection to be swept away by…
I can honestly say PTA is the more subdued version of David Lynch.
This review reportedly contains spoilers. I can handle the truth.
God if this film isn't beautiful to look at. The framing and composition is wonderful and 70mm film works to capture every last drop of light in the frame, but the film wouldn't be as good as it is if that was all there was to it. The acting in this film is spot on, Philip Seymour Hoffman gives one of the greatest performances of his career as does Joaquin Phoenix, and Amy Adams works wonders as the supporting role.
I really admire PTA as a storyteller, I love how The Master can be as simple or complex as you make it, at its heart for me is the story of a post war navyman trying to adapt to life…
Excelentes interpretaciones a cargo de Amy Adams, Philip Seymour Hoffman y Joaquin Phoenix, en especial este último. Sin embargo no es suficiente para que esta película llegue a cuajar y se ahoga en su propio interés de mostrarnos una secta a traves de escenas lentas sin ninguna o poca funcionalidad.
PTA tests our belief in the statement "a picture is worth a thousand words" when it feels like some of the most poignant moments in this movie are dialogue free. I get the feeling a moving picture is worth 10,000 words.
great movie love it so much
A Naval veteran arrives home from war unsettled and uncertain of his future - until he is tantalized by The Cause and its charismatic leader.
As with all of Paul Thomas Anderson's films this simply cannot be judged after one viewing. It requires multiple watches and more time with it's characters and I get more and more out of it with each viewing. It's well acted and well crafted, you simply will not find a movie with performances as great at these. Every frame from this film is a work of art and PTA will go down as one the greatest directors in cinema history.
Challenging, complex and captivate cinema, we need more of it.
Knowing what I know about Scientology (which is nothing) I found The Master to be intriguing as an exploration of Mr Hubbard. The performances are all solid, but the real highlights for me where two scenes between Hoffman and Phoenix. 1. The first processing on the boat. and 2. The final scene between them. The complexity of their relationship is riveting. It is both extremely selfish (on both of their parts) and selfless at the same time. It seems to get to the heart of what they are both searching for in life. Pheonix wants someone to see something in him that may or may not be there, but something more than he sees in himself. Hoffman wants validation of…
Thing is, Freddie is such a great character (both in writing and thanks to Phoenix) that I'd probably watch him stumble around anywhere for hours. This thing is still somewhat beguiling, even a third time, but I'm kind of convinced that's really the point.
What else can I say, Paul Thomas Anderson is a genius, we all know it, I don't really need to convince anybody otherwise. Few filmmakers can masterfully construct a scene the way PTA does. The Master also serves as a reminder of just how good of an actor Phillip Seymor Hoffman truly was, watching him and Joaquin Pheonix play of each other is something to behold.
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).