The Master

I had no clue what I was heading into when I pressed play. I think it's really hard to make a bad movie when you have Philip Seymour Hoffman, Jaoquin Phoenix, Amy Adams, and Jesse Plemons leading the charge. Hoffman and Phoenix are fully absorbed into their characters and the film forces its audience to try and follow these conversations that somehow feel super grounded (due to Hoffman's amazing delivery) and unsettling at the same time. This movie really could not have worked without the talent of these actors.

Amy Adams does so much with so little screen time; I do wish we got more time with her but I think her lack of presence contributes to the messaging of the film. She gives an extremely pulled back/subtle performance of a woman that is truly in the middle of the storm.

This feels fresh and distinct from any other movie I've watched, so I'd definitely recommend it.

Paul Thomas Anderson's "The Master" is a puzzling, often bewildering film. Very few films have left me shaken and stirred and still leave me wondering, "What was that all about?" I can't say that I hated the ride. It is, quite simply, a remarkable film from one of America's best filmmakers today. This film is not for everyone, however.

The film's center plot; the one about self-described nuclear physicist, philosopher and professor Lancaster Dodd and his "organization" "The Cause" - as seen from the point of view from a shell-shocked psychotic drunk Freddie Quell. During the course of the film Lancaster and Freddie bond somewhat with Lancaster progressing his latest works.

The main performances by Joaquin Phoenix and Philip Seymour Hoffman are superb, and should warrant both of them Academy Award Nominations for Best Actor. Both of them. Phoenix is literally on fire here, his quirky mannerisms, twitching lips, unforgiving, unsettling eyes and ferocious anger and voice had me on the edge every time I see him on screen. Hoffman also is more subtle, though we see growing anger and rage whenever he feels that his work is being threatened. He can be classy, charismatic, and when threatened, loses all of that and becomes about as desperate as Freddie. Brilliant work by both actors. Watch the scene where Lancaster gets through to Freddie, or the harrowing scene where both of them are in jail cells. Special mention to Amy Adams who, while not really standing out, gives off a peculiar and somewhat sinister aura whenever she's on the screen.

Anderson's solid screenplay and his concentrated direction bring the goods. There seems to be a pattern about Anderson's last three films including this one. Both "Punch-Drunk Love" and "There Will Be Blood" featured lead characters who are extremely lonely and prone to snap to anger. "The Master" is somewhat a bit of both, where the lonely man can be both psychotic without reason and yet there are scenes which show he is, after all, a man. Some very well written lines ("If you can find peace without looking up to a master, any master...") meshed with some really great cinematography by Mihai Malaimare Jr. that brings nice color tones to the 1950 production design. Complementing all of this is Jonny Greenwood's eerie, dissonant score which makes the movie all the more odd, unsettling, and yet compelling to watch.

Eventually, both men in the movie are the masters of their own fate, and Anderson his own. It may move some and it may turn away others, but this is a fascinating watch nonetheless. "The Master" is one of 2012's very best films.

Overall: 91%

I will never understand how Phoenix and Hoffman didn't win the Oscars. Specially Joaquin, I truly think it is the best actor performance I ever watched in my life. The movie is great, although is not for everyone, you must watch it with the right mindset and pay attention to every detail. Most new actors should watch this movie to take notes on how to be a better actor. Cheers.

I came into The Master knowing almost nothing about it and, knowing (and caring) almost nothing about Scientology, it transpires that I may not have been able to take as much from it as someone going in fully informed and ready to be led by the director. I say this upfront because I have noticed that generally, criticism of this film tends to be met with a snobby dismissal of the individual who didn't "get it" because they weren't smart enough etc. This said, the film started well and it engaged me for well over the first half, building characters and exploring them in a patience rhythmic manner that mirrors the hypnotic delivery of Dodd himself. Sadly this build doesn't have a delivery to speak of and in the second half of the film it really did lose me.

What else it lost was any direction and sense of momentum that it may have had up till that point. The story doesn't go anywhere and it takes its time doing it, meandering through similar ground and offering nothing to really justify the long running time. Some may chose to see this as people complaining about a lack of action etc (again, that snobby of assuming such comments must mean "I need a car chase") but this isn't it at all; the story-telling seems to fall way down a priority list and it is a real shame because so much else about the film is excellent.

The first thing that grabs you is visually how stunning the film is – and it is a factor that remains consistent across the whole film. The colors, the framing and the size of the images are alluring and engaging. I had not heard of Malaimare before seeing his name in the credits, but his work here is terrific. On top of these images we get great use of music that is like a bedding rather than being stuck on top. It is hard to describe but it works very well, spilling under scene after scene and giving the delivery an oddly engaging feel and tone. As everyone has already said, the film is carried with some very strong performances. Phoenix is really great, with ragged edges and internals on display. Hoffman is more patient but also prone to rage when questioned and he balances this well. Adams surprised me the most as I think I didn't expect her to be as good as she was. The three of them (but mostly the lead two) make the film much better by virtue of what they do – and it is just a shame that the story-telling isn't better for them.

Indeed this is true for me of everything, because the film is so well made, looks so beautiful and is a great piece of crafting that it really is such a shame to be left cold by it and to feel it meandering without any momentum or reason. It is a great film and it deserves to be seen for what it does so very well, but in no way is it a good story – and it is this aspect that really lets it down.

My Rating : 8/10

Inspired by Scientology founder L. Ron Hubbard and the development of a cult, 'The Master' is a drama-piece through and through.

The movie doesn't have a message or goal as such and sort of does it's own thing.

The things worth watching are the terrific performances, weird content and some very fine cinematography.