The Master

2012

Drama

The Master (2012) download yts

Synopsis


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Cast

Philip Seymour Hoffman as Lancaster Dodd
Rami Malek as Clark
Jesse Plemons as Val Dodd
Amy Adams as Peggy Dodd
720p 1080p
1.00 GB
1280*720
R
23.976 fps
2hr 24 min
P/S Unknown
1.90 GB
1920*1080
R
23.976 fps
2hr 24 min
P/S Unknown

Movie Reviews

Reviewed by Monotreme02 9 / 10

Cements Paul Thomas Andreson as the most consistent director working today

In a broad sense, The Master tells the story of a soulless drifter, Freddie Quell (Joaquin Phoenix,) constantly drunk and with no purpose in life, finding sanctuary in the company of The Cause, a cult-like group lead by a charismatic intellectual, Lancaster Dodd (Philip Seymour Hoffman.) This plot description does not do the film full justice, because with this film, Anderson fully releases himself from the constraints of traditional narrative storytelling. The film is told in a stream-of-consciousness style, loosely linking together vignettes and moments from the time these two men spend together, without any sense of "drive," "purpose" or "goal" in the traditional screen writing sense. It is a style perfectly befitting the emotional and spiritual state of the main character, Freddie, adrift in life with no anchor or sense of purpose of his own. Throughout the film, Anderson occasionally cuts back to a shot of the wake of a slow-moving ship, placing us, the audience, aimlessly drifting through the narrative, just as Freddie is. What results is a series of scenes, snapshots of events, some narratively linked and some not. The film is very subjective, and puts us squarely in Freddie Quell's mind; as a result, no easy answers are given, many questions remain mysteries, and we never get a firmly grounded sense of reality; many events remain ambiguous and keep us wondering as to their fidelity long after the film is over.

The Master is Anderson's most cinematically humble film yet. Gone are the sweeping camera moves, rapid-fire editing and high style of his previous films; even the slow, meticulous, beautifully lit tracking shots of There Will Be Blood are gone. Instead, Anderson submits to a wholly utilitarian shooting style, only moving the camera when necessary to capture action in the shot, and using formal framing techniques and naturalistic (but still very beautiful) lighting to comment on the characters' internal states. That said, it would be impossible to talk about the film's visual style without commenting on Anderson and cinematographer Mihai Malaimare Jr.'s decision to shoot on 65mm film. This film stock, especially when projected in 70mm, provides the film with an unprecedented sense of clarity and sharpness. The 65mm lenses provide a very unique and distinctly shallow depth of field that adds to the dream-like quality of the film, and helps emphasize the isolation the characters feel. It would be a crime to watch the film on any other format.

All this discussion about non-narrative elements, thematic overtones and film formats is not to minimize what is possibly the film's crowning and most long-lasting achievement: the performances. Philip Seymour Hoffman, one of the most consistent performers working today and an Anderson regular, delivers another powerful, charismatic performance in line with his turn in Doubt. It is, for the most part, an effectively subtle performance, maintaining a controlled dignity peppered with the occasional outburst. Amy Adams delivers a similarly dignified performance. Her character is mostly quiet, observing from the sidelines, but she has her moments to shine in the aforementioned private scenes between her and Lancaster, in which she completely dominates him. But the highlight of the film is without a doubt Joaquin Phoenix's tremendous performance as Freddie Quell. Over the years, Phoenix has, without much fanfare, slowly but surely cemented himself as one of the best actors working today, with powerful turns in many varied films, from his deliciously villains turn as emperor Commodus in Gladiator to his quiet, grave personification of Johnny Cash in Walk the Line. Now, after a four-year absence from narrative films, he returns with what is undoubtedly a career best performance, and one that, with any luck, will win him a much-deserved Oscar. His utter and complete immersion in the character of Freddie Quell has to be seen to be believed. His back hunched, swinging his arms like an ape, his frame thin, his face twisted and distorted, mumbling and slurring his speech out of the corner of his mouth like he is just learning how to behave in society for the first time, and failing. And Phoenix' physical commitment to the performance doesn't stop there, either: he flings himself into scenes of raw violence that look and feel completely real. It is a crowning achievement in the art of acting and "the method," rivaling that of Daniel Day-Lewis in Anderson's previous film, and it further cements the biggest difference between Anderson and Stanley Kubrick as directors: Where Kubrick is known for his actors' cold, removed performances, Anderson has become the most consistent source for high-caliber Acting with a capital A.

It's hard to really explain what makes The Master work even though it lacks many traditional narrative elements that provide most other films with powerful drama, closure and immediate gratification. It's a very subjective experience, and I'm sure many viewers will have difficulty immersing themselves in the film without the typical sense of narrative progression and character goals. For this reason, The Master is probably Anderson's least accessible film. That said, I think it is a testament to Anderson's enormous intellect and directorial abilities that he managed to capture the attentions and fascination of so many viewers and critics. He certainly won me over; although I had more visceral and immediately satisfying reactions to Anderson's previous films, I find that The Master lingers on long after the lights went up in the theater. The film's intellectual ambitions, along with its very unique, eerie tone, will keep me mulling over the experience for days to come. Already I feel the urge to re-visit it and attempt to uncover more of the film's secrets. And that right there is a telltale sign of an instant classic film in the making.

Reviewed by j-leclair 1 / 10

I feel as though I am one of the cause

I love Phillip Seymour Hoffman, and appreciate most of the other recognizable actor s in this film. This film is too long, too boring, and meanders like a mid-western river. I kept waiting and waiting for the story line to pick up, but it was at it's peak on the floor. Amy Adams played a great antagonist, but her role was stunted. Joaquin Pheonix did well to play an alcoholic with a few cards shy of a deck, but hasn't everyone played that role well? Hoffman was not so disappointing as his material was just not that good. This was not a story line worth making into a movie. I wrote a better ending walking out of the movie theater. After the master proclaims we all have our masters, Freddie bashes in his head with a white statuette. The antagonist returns to the room to find the new master in the chair and she smiles. To heap any platitudes on this movie is to become one with the cause. Stay home, save your money, clean your toilets.

Reviewed by Clayton Davis 9 / 10

Phoenix is the performance of the year! Anderson excels once again

The Master is absolutely magnetic, orchestrated brilliantly by writer/director Paul Thomas Anderson and helmed by the commanding turns of Joaquin Phoenix and Philip Seymour Hoffman.

Anderson has never been a director that makes a film for everyone to enjoy. In the vein of auteur directors like Terrence Malick, David Lynch, and Michael Haneke, Anderson's films aren't necessarily the most accessible despite the seeming mainstream status. Films like Boogie Nights (1997), Magnolia (1999), and There Will Be Blood (2007) are reflective, tensional, studies of human behavior, all things that the average film-goer most of the time will not embrace. In The Master, Anderson constructs, absolutely magnificently I might add, two dynamic, real, and tangible men that the audience can both imagine knowing, loving, and loathe. It's the writing masterpiece of the year.

Lancaster Dodd (Hoffman) gets the best character blueprints of any player to interpret. Hands down, the sharpest and best written character of the film is purely Lancaster. Anderson concentrates on his motivation and responses, giving him an arc that the audience can both easily and willingly travel with him. Hoffman's natural talents as an actor and finding himself in a character are showcased here with intensity and composure. His often seemingly blood-filled hot-headed dialogue encompasses some of the best moments of the film. It's evident Hoffman is not only enjoying himself but enjoying Lancaster. He's both repulsive but completely enamoring in structure, word, and persona. Anderson may have created the great oxymoron of cinema this century. Hoffman is damn-near perfect.

The performance of the year... On the flip side, Joaquin Phoenix not only inhabits a character never seen by him or any actor before but assembles a man from scratch, beat by beat, trait by trait. It's not just the finest acting performance of the year, not only the finest acting performance this millennium, it could be the finest work of the past twenty years or so. I can only recollect a handful of actors that have the gumption to stand toe-to-toe with Phoenix's work here. His Freddie Quell is utterly unpredictable; strutting, glaring, and holding an explosive mentality that could detonate at any moment. Phoenix controls it, even though there are many instances where you feel like he's losing it. Quell is frightening, admitting his evil, unbalance, and instability. Phoenix externalizes this in his zealous and disturbing actions but more importantly internalizes it in body language and character beats that not many actors dedicated to the craft can achieve. Joaquin Phoenix is not just Oscar-worthy, he's Oscar-bound. It's the performance you can't deny, the performance of the year. Let's hope they don't.

Where Phoenix and Hoffman are strident and vociferous, Amy Adams is internal and subtle, but always at the brim. Peggy Dodd is multifaceted and extremely complex. Adams understands her amazingly well, making intricate features that are surprising for "good-girl" Adams. She gets dirty and dominating in not only a prolific manner but in a sultry method. Adams is a revelation. Laura Dern is brief but memorable; a missed actress who should be doing more accessible work.

Jonny Greenwood's score once again, it's absolutely brilliant, well- placed, astonishing and among the best composers this year. Mihai Malaimare, Jr., cinematographer extraordinaire, is just that, extraordinary. Malaimare is painting scenes on a film canvas and we are witnessing the artist work. It's as if we're watching Bob Ross teach us the art of capture. Expect Cinematography to be named among Oscar's lineup in 2013 along with Film Editing (Leslie Jones, Peter McNulty) and Production Design (David Crank and Jack Fisk). It goes without saying, Picture, Director, and Screenplay should be there alongside them.

The Scientology subject is there and there are connections that can be made but are they obvious or intended? Not necessarily. It's not evident or offensive. I only hope that Paul Thomas Anderson and the film doesn't suffer from anyone assuming that its a slight at the group or any particular one for that matter.

Though the film takes time to warm up to, once the film soars, it's soars high. While The Master is not for everyone and there could be many detractors, there are three scenes in particular that are masterpieces in filmmaking. Anderson levels and executes a difficult subject with no fear or hesitation. He also knows his characters, what they are, who they are, and marrying the actors to them in a way not many directors can do. Anderson unites film with art again and The Master is their bond. It's good to see them together again.

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