THE MASTER

 

The last time a Paul Thomas Anderson picture played on screens around the world we got ‘There Will Be Blood’, now, five long years later, he delivers ‘The Master’.  What had been hyped as the “Scientology” movie, Anderson explores something different entirely, using a pseudo “religion” and book (‘The Cause’) simply to add scenery.  The film deals much less with intricacies of the polarizing religion of Scientology, although plot roots do stem from the aforementioned, and much more with the psycho/social aspects of our pasts and the relationship(s) of our leaders and followers.

Right away, with PT Anderson (see also ‘Magnolia’ and ‘Boogie Nights’), we can be thinking Oscar.  However Anderson, who can steer towards incoherence and lack of cohesive story structure, gives us his most fragmented and fractured film yet, something that can scare off the majority while strengthening the enthusiasm of his ardent followers (the Ron Paul effect).  This is evident on the Tomatometer.  The film garners a very respectable 85% currently, yet if the majority of critics were like me it wouldn’t fall too short of 100%.  It is a modern day masterpiece, something that will be viewed as underrated in future decades.  For anyone that saw Malick’s ‘The Tree of Life’ last year, this is probably my favorite film since, definitely a top five film of the last few years.

Anderson brings two things to the table he never seems to be lacking; incredibly thought provoking situations/scenes that progress or showcase his characters and some of the best, most spot on dialogue of any screenwriter in the business.  From his main character Freddie’s (Joaquin Phoenix) drunken sexual encounter with a sand mermaid to Lancaster Dodd’s (the incomparable Phillip Seymour Hoffman) angry exchange with a doubter at a fundraising event, Anderson puts his characters in situations where they are vulnerable, intimate, and can display their motives.

Although Anderson is the real star of the show, Phoenix and Hoffman are no slouches.  Both vets with Oscar noms under their belts they should be shoe-ins for some Academy attention, my only worries would be the film’s polarizing effect so far and the lack of people seeing/talking about it as a frontrunner.  Amy Adams puts in a good effort as Dodd’s steadfast wife; don’t be surprised to see the young vet’s name thrown around in Oscar circles for a supporting nod come January.

Since 2009’s ‘The Hurt Locker’ I have had the misfortune of enjoying the best films of the year just not the Oscar’s view of best films of the year, although I did much appreciate the Academy paying homage to history by recognizing ‘The Artist’.  This year will be no different unless something can sway my gaze from ‘The Master’, which will get attention and its followers excited, just not the votes needed, with the exception of Phoenix and Hoffman, to run to the podium.

Oscar Chances:

Best Picture: Highly Likely

Best Director (Anderson): Highly Likely

Best Original Screenplay (Anderson): Lock

Best Actor (Phoenix): Lock

Best Supporting Actor (Hoffman): Lock

Best Supporting Actress (Adams): Possible

Best Cinematography: Highly Likely

Best Editing: Possible

Best Art Direction: Possible

Best Score: Possible

LATE SEPTEMBER/EARLY OCTOBER OVERVIEW

 

Alright, so a slew of good films are starting to roll out to local theatres, as some of you know it was definitely an underwhelming summer so this comes as a sigh of relief.  The tomatometer may be telling of a film’s quality however it is a maddening tool to map Oscar possibilities, such is the nature of Oscar politics.  What I’ve seen recently and their Oscar chances:

‘Looper’: Original Screenplay (Rian Johnson) Possible, Supporting Actor (Bruce Willis) Long Shot

‘End of Watch’: none, although a well done “found footage” film

‘Frankenweenie’: Animated Feature (Tim Burton) Lock, good return to form after multiple lackluster showings from Burton

There was some buzz surrounding ‘Trouble with the Curve’ before it opened but chatter has been squelched by lackluster reviews.  There are rumors this will be Eastwood’s last acting effort which would be a shame to see him exit on a low note, hopefully he can throw out one more gem and ride into the sunset.  ‘Pitch Perfect’ is reviewing fairly well but even without seeing it I can assure everyone there will be no Oscar talk, just an entertaining romp to waste some weekend hours.  Opening this week, ‘Argo’ (which I saw in Telluride and reviewed), ‘Seven Psychopaths’ (‘In Bruges’ director Martin McDonagh), ‘Sinister’ (reviewing surprisingly well), and ‘Smashed’ (indie hit at Sundance starring Breaking Bad actor Aaron Paul), going to be a busy weekend.

I was fortunate to finally see ‘The Master’ today; a full dedicated review is required, look for it within the next few days.

‘Til then.