Author Topic: The Master - Spoiler-Free Thread  (Read 339571 times)

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InTylerWeTrust

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Re: The Master
« Reply #1380 on: August 17, 2012, 01:21:14 AM »
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^   :  '  )


(VIA TWITTER): Credit: @NelsonCarvajal




Damn...
Fuck this place..... I got a script to write.

malkovich

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Re: The Master
« Reply #1381 on: August 17, 2012, 01:29:42 AM »
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I think I'm gonna cry.

Pubrick

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Re: The Master
« Reply #1382 on: August 17, 2012, 01:35:02 AM »
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Some of those dickheads didn't deserve to be there.

"Game-changer" ? Ugh. Fuck outta here.

Talking about the hipsters at the screening? You're looking in the wrong direction, fuckhead.

And worst of all.. this will come up A LOT: insecurity about others understanding more than you ? PTA privileges revoked for LIFE.

On the bright side.. I'm glad PTA bought a new shirt.
under the paving stones.

HeywoodRFloyd

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Re: The Master
« Reply #1383 on: August 17, 2012, 01:39:27 AM »
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Hahah Pubrick :) okay guys, let's all just vent it out, give it all you got

InTylerWeTrust

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Re: The Master
« Reply #1384 on: August 17, 2012, 02:14:47 AM »
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A compilation of all the twitter reactions.... With a few new ones added:


http://blogs.indiewire.com/criticwire/reaction-to-the-master-in-chicago#
Fuck this place..... I got a script to write.

MacGuffin

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Re: The Master
« Reply #1385 on: August 17, 2012, 07:51:38 AM »
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***Read At Own Risk***


Review: ‘The Master’ Proves A Brave, Sensual Yet Detached Triumph For Paul Thomas Anderson
Source: Playlist

Even amongst its most wrenching scenes of unfettered anger and broken loyalty, a volatile sensuality nonetheless invades every frame of Paul Thomas Anderson’s arresting “The Master.” Populated by characters certain in their sexual and loving instincts yet stubborn in claiming responsibility for them, the film holds an unseen, persuasive force just off-screen to keep each on edge, never fully comfortable in their own skin. However, while the film’s narrative may point to faith as a cause and cure, the end result focuses instead on the reverberating pain in one’s past, and the oblique, often-maddening ways it manifests in the present through incredible performances and direction.

For Freddie Quell (Joaquin Phoenix, a truly unnerving revelation), both his faith and pain lie with women, and every smell, image, and suggestion that’s to do with them. When we’re first introduced to him, posted on WWII naval duty along a beachfront, he alternates between graphically discussing STD treatment tips, fashioning an anatomically correct woman in the sand, and masturbating into the ocean in plain view of his shipmates. As he returns home to California, apprehensively released by his superiors to 1950s California, the film carries this obsession as well, poring over every female body and word with the gaze heaped upon them. Aside from chasing women and picking up odd labor jobs, he is also an amateur alchemist, stealing paint thinner along with a variety of other substances to craft a bevy of homemade liquor. After an experiment during a Salinas work shift leaves a man poisoned, Freddie is run out of town by the other workers, and after a day’s drunken journey onto a luxury ship boasting a glamorous party, he finds himself in the company of Lancaster Dodd (Philip Seymour Hoffman), known to his community of secretive followers as “The Master.” As Freddie listens to Lancaster deem himself a nuclear physicist, theoretical philosopher, but above all an inquisitive man, he laughs, but Freddie notes within the exaggerated claims the conviction he so desperately lacks. “Come join us,” Dodd beckons, ushering him aboard to meet his wife (Amy Adams) and son (Jesse Plemons), “but your memories aren’t invited.” And with that, the ship doors are closed, the men grow closer, and Freddie finds slow solace in Lancaster’s words that have gathered many already.

Memory indeed plays an integral part of Anderson’s narrative, as Freddie seeks to run from his tortured past (his father died from alcoholism, while his mother was institutionalized) while also wanting to repair it, but the emphasis is placed not so much on the events that the characters remember, but the charged emotions behind them. Of course, it’s inevitable that comparisons to “There Will Be Blood” will be made, since both films focus on entrepreneurial men seen from simultaneously a detached and intensely personal point of view, but those claims only go so far here. Jonny Greenwood’s score remains the most analogous aspect, with its wood-based, off-kilter compositions, but as a whole, “The Master” plays instead like the heart-stopping strings at the opening of 'TWBB,' only settled into a simmering pattern waiting for their next leap. With his incredible DP, Mihai Malaimare Jr., and production design team of David Crank and Jack Fisk, Anderson absolutely nails every period detail he’s going for, from costumes down to the impeccably crafted visual style. Speaking of which, if there was any doubt Anderson had about shooting in 70mm, the opening shot of crystal-clear, vibrant blue sea should dismiss those thoughts entirely. There is an immediate and immersive quality to the image here, and combined with the film’s sustained atmosphere of dread, it is altogether an experience at which to marvel.

However, while those looking for a scathing indictment of any well-publicized religion are certain to find similarities, in some cases even direct parallels, Anderson never creates an atmosphere of outright derision. Instead, he crafts an enthralling attempt to track a personal guiding direction behind such a following, using Freddie’s relationship with Lancaster (as well as Adams’ nicely-handled ancillary menace) to drive home the conflict within the subject. In fact, it is in the rare scenes closest to direct analysis – such as when Hoffman displays his barely-veiled contempt of a dinner party skeptic – that feel reaching, providing on-the-nose dialogue that prove inferior to other sublime examples elsewhere. An early scene, in which Lancaster interviews Freddie about his past using a series of test questions, is unequivocally the film’s centerpiece, as both players raise each other’s game with every line and glance to ensure everyone that yes, these actors are capable of truly amazing things.

It is in these scenes where Greenwood’s score, along with the superb editing of Leslie Jones and Peter McNulty, shine the most, as Lancaster takes Freddie through “applications” in the homes-turned-treatment-centers of his followers. These sections fall into a fractured rhythm, as scenes fall off into flashbacks and flash-forwards, only to pick back up again twenty minutes later, and it is a credit to Hoffman and Phoenix’s performances that their emotional through-line never feels disjointed. However, it is in Freddie’s trials that the film begins to sag slightly. In Freddie Quell, Anderson has written an immensely passive character to center the film around, and while in its initial reels the sense of meandering spontaneity feels exciting and dangerous, in the latter half it simply feels listless. It is a sprawling film as well, jumping from California to Philadelphia, Phoenix to England, and combined with Phoenix’s wandering journey, the film’s 2+ hour runtime becomes increasingly felt. Combine that with an ending fit for many interpretations, and it adds up to an aggressively layered, distanced finish to a seemingly unresolved narrative.

As Freddie approaches Dodd’s ship in the film’s beginning, he notices on the side the name “Alethia,” the Greek word loosely translated as “truth.” Every character in the film is looking for such a goal, but ultimately, as exampled by Dodd’s exercises for his followers to “return to the womb,” nothing in these people’s lives since their conception will ever satisfy them fully. The world has battered them down, and while Anderson has hinted before at a pessimistic worldview, “The Master” may be his most subtle example of such, while leaving viewers to decide within his brilliant, disorienting latest whether he actually means it in the end. [B+]
“Don't think about making art, just get it done. Let everyone else decide if it's good or bad, whether they love it or hate it. While they are deciding, make even more art.” - Andy Warhol


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Fernando

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Re: The Master
« Reply #1386 on: August 17, 2012, 09:12:01 AM »
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FWIW, that review wasn't written by our boy modage....and B+? fuck that shit (didnt read it)

HeywoodRFloyd

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Re: The Master
« Reply #1387 on: August 17, 2012, 10:01:44 AM »
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It's actually a pretty good review. I have a feeling, by seeing most of these reactions, it feels like The Master is going to be misunderstood by the vox populi, but will be deemed a masterpiece by many others. For me, there is only one other film that comes to mind that was treated this way, Kubrick's Eyes Wide Shut. EWS, is my #3 favorite film of all time, a film so dense, that the first time over it appears like there is no objective, an uneasy feeling comes over you because you can't comprehend it, but it is unforgettable. And from these reactions it seems The Master is indeed that, I'm hoping that The Master reaches EWS levels, that would make these past 5 years of waiting truly satisfying.

InTylerWeTrust

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Re: The Master
« Reply #1388 on: August 17, 2012, 10:11:23 AM »
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It's actually a pretty good review. I have a feeling, by seeing most of these reactions, it feels like The Master is going to be misunderstood by the vox populi, but will be deemed a masterpiece by many others. For me, there is only one other film that comes to mind that was treated this way, Kubrick's Eyes Wide Shut. EWS, is my #3 favorite film of all time, a film so dense, that the first time over it appears like there is no objective, an uneasy feeling comes over you because you can't comprehend it, but it is unforgettable. And from these reactions it seems The Master is indeed that, I'm hoping that The Master reaches EWS levels, that would make these past 5 years of waiting truly satisfying.

Yeah, I feel like this is going to be (at least for me), another "Tree of Life".... Where everyone is going "It was so boring and pointless and long and they didn't use Brad pitt and Sean Penn enough! and the editing was horrible... blah blah blah" and I'm on the other side going "WHAT THE FUCK ARE YOU TALKING ABOUT? this is one of the best films I have ever seen".

Some movies are just misunderstood because they require a level of intelligence and comprehension that is rare to the general public (who are still watching The avengers and the Bourne movies)
.
Either way, PTA has never dissapointed and he will NOT start now.

P.S: Most of these "reviews" are fucking retarded.
Fuck this place..... I got a script to write.

polkablues

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Re: The Master
« Reply #1389 on: August 17, 2012, 10:30:25 AM »
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The main takeaway from these early reactions is that it's a challenging film, and that's the best news we could have asked for.
MISTER POLICE YOU COULD HAVE SAVED HER I GAVE YOU ALL THE CLUES

HeywoodRFloyd

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Re: The Master
« Reply #1390 on: August 17, 2012, 10:35:01 AM »
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Exactly, well said. Best news we could ask for.

HeywoodRFloyd

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Re: The Master
« Reply #1391 on: August 17, 2012, 10:43:25 AM »
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Ps: I'm a fan of the Bourne Trilogy, what's wrong with it? Thoroughly enjoyable.

martinthewarrior

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Re: The Master
« Reply #1392 on: August 17, 2012, 10:50:31 AM »
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Won't spoil anything, but this thing is some kind of punk master work. Gonna take a long while to determine what kind. Going to be extremely more divisive than blood, even among Anderson's faithful. Very brave movie. Many more viewings needed. Phoenix gives one of the top 5 or so performances ever, blah blah blah. Did something I don't see ever being duplicated.

DocSportello

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Re: The Master
« Reply #1393 on: August 17, 2012, 10:54:40 AM »
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When the third trailer hit I told myself I wouldn't watch another frame until the movie. I totally watched the fourth yesterday. I couldn't help it. I thought it was amazing but I was worried I had seen too much although cumulatively I had only seen about 6 minutes of a 2 hour + film. Modage's tweet explaining that no matter what we expect, it's not what we are expecting helped me breathe a sigh of relief. That is what I've wanted to hear for 5 years. Ever since CMBB was unlike anything I've ever seen, I wanted the same to be said of The Master.

There are many reasons why PTA is compared to Kubrick but I think the one most can agree with is that they never make the same movie twice. These reactions are only throwing fuel on fire for me. We all wanted a challenging film right?

I guess what's most reassuring to me is that no matter how many times I watched a CMBB trailer, nothing could prepare me for the opening crescendo. It was already something new after the first 20 minutes.


InTylerWeTrust

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Re: The Master
« Reply #1394 on: August 17, 2012, 11:16:00 AM »
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Ps: I'm a fan of the Bourne Trilogy, what's wrong with it? Thoroughly enjoyable.

Sure.... But is not exactly a thinking man's movie, is it?... Bourne movies are made for Joe Popcorn and his friends (Not offending you). That was my point. But to each his own... If you like 'em, more power to ya!


About that Playlist review (and I really like the playlist BTW)...  But why praise it and then give it a fucking B+?. That review feels rushed too, should've let the film sink in, think about it for a while and then come to conclusions.


Won't spoil anything, but this thing is some kind of punk master work. Gonna take a long while to determine what kind. Going to be extremely more divisive than blood, even among Anderson's faithful. Very brave movie. Many more viewings needed. Phoenix gives one of the top 5 or so performances ever, blah blah blah. Did something I don't see ever being duplicated.

 :)
Fuck this place..... I got a script to write.

 

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