Dan the Man's Movie Reviews

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Tag Archives: Aimee Mann

The Master (2012)

Move over Katie Holmes, Tom Cruise officially has a new arch-enemy.

A charismatic intellectual named Lancaster Dodd (Philip Seymour Hoffman) launches a religious organization following World War II. A drifter named Freddie Quell  (Joaquin Phoenix) becomes his right-hand man, but as the faith begins to gain a fervent following, the drifter finds himself questioning the belief system and his mentor.

Whether you’re a Scientologist and have been waiting to protest outside of every movie theater across the nation, have been waiting to see the return of “normal” Joaquin Phoenix, or have been waiting to see what writer/director P.T. Anderson has kept himself busy with over the past 5 years, chances are, you’ve been pretty amped for this flick, as well as I have been. I mean hell, I reviewed two movies, from the same director, for the past two days! I rarely do that, and I was definitely willing to make an exception for this guy just because he once again, proves that he is one of the best directors we have working in America today. Without a doubt.

One thing that could be said about this tale (but not taken away from, however) is that a lot of it plays out in the same vein as There Will Be Blood. Don’t believe me? Okay, well think about this: instead of oil, you have religion; instead of oil tycoon Daniel Plainview, you have religion-starter Lancaster Dodd; instead of the loose-cannon Eli, you have the loose-cannon Freddie; and instead of the relationship between Daniel and Eli being at the fore-front, you have the relationship between Freddie and Lancaster. The only difference here is that Freddie and Lancaster actually seem to get along with one another, rather than drinking each other’s milkshakes. But I digress.

Whatever way you want to look at this film, you cannot deny the artful skill and compelling nature that lies behind every frame of this movie that Anderson beautifully constructs. From a technical standpoint, this film honestly could not be any better as certain scenes will just have you forgetting about what’s going on screen by how beautiful and wonderful they look. Anderson captures the look and feel of the 50’s as if he actually took a DeLorean back to those days, along with his film crew, and just started filming right on the spot. The long landscape shots that Anderson captures are even more beautiful and breathtaking as the ones he took in There Will Be Blood and I highly suggest you see it in the 70MM way it was meant to be seen in. I would like to complain and say that it was almost distracting how wonderful this film looked sometimes because it really does take your eyes off the action at-hand, but I can’t diss art and that’s exactly what Anderson has painted here.

Then of course, you got the score from Johnny Greenwood that uses the same exact trifling with sounds as he used in There Will Be Blood, but this time almost plays out a bit differently as Anderson gets back into the grand scheme of things by allowing pop-music to ironically poke it’s head into some key scenes that will probably fit any type of emotion Anderson was going for in the first place. No, there’s no Sister Christian or Aimee Mann songs to jam out too, but still some nice quality tunes that shows Anderson is the perfect guy for when it comes to meshing music with scenes.

One of the biggest buzzes surrounding this flick is whether or not this is Anderson’s take on the early days of L. Ron Hubbard’s Scientology. There are a whole bunch of similarities between “The Cause” and Scientology, but Anderson never seems like he feels the need to go so far and just openly describes what it is and that was a pretty brave step coming from Anderson as he could have taken as many cheap-shots as he wanted to with this subject material. However, this does give him plenty of room and opportunity to talk about religion and whether or not this “Cause” is actually good for any of the people that follow it. You can tell that these people love being able to believe in something that makes them feel like they live in a beautiful and wondrous world, but at the bottom of it all though is the fact that some of this may just be all based on a bunch of lies. But still, even though this seems like an area that Anderson can get into and almost badger the hell out of, he smartly doesn’t and allow the viewers to make up their own interpretations about whether or not this religion is the right one to follow. Once again, another brave move by Anderson and shows you why he is in fact, one of the smartest-working writers and directors on the planet. That’s right, ON THE PLANET.

But as much as this film may seem to be about this underground religion and all of the effects it has on its people, this film is really all about the relationship between the two main characters: Freddie Quell and Lancaster Dodd. Both are very, very different from one another as one is the leader of a smooth-talking, happy-all-the-time “religion”, and the other one is just a drifter who can never seem to control his anger, or his drinking for that matter. This contrast between the two characters is probably one of the most interesting and entertaining aspects of this whole flick because we see them both work wonders for each other in ways that we thought weren’t even imaginable from the first meeting the two. They actually care for each other and both want what’s best for them, even if they don’t fully make it work every single time they try. One scene that comes to my mind the best when I think of the relationship between the two is when Dodd actually tells the cops to not hurt Freddie, even after he continues to beat the ever loving crap out of them all. It’s one of the most memorable scenes in the whole film not because it’s a turning-point for the whole direction in where the story was headed, but because it shows you the depths of the relationship these two have together.

What I think makes the relationship between them both the most memorable, is the fact that they are played so brilliantly by its two leads: Joaquin Phoenix and Philip Seymour Hoffman. I was so damn happy to see Joaquin back in full-on acting mode because it’s performances like these that make me realize the type of talent this guy has that shouldn’t be wasted on a faux-rap career. Phoenix is mesmerizing as Freddie Quell because he brings all of that vent-up frustration and strangeness that he had with his “character” in I’m Still Here, and let’s that play-out in a way that’s as memorable as it is compelling. You can tell that this guy is going to flip any chance he gets the chance to and it’s pretty obvious that he doesn’t have the best conscience out there, either. However, there are a couple of key scenes that show Freddie in a very sympathetic light that may have you understand why this guy is always so off his rocker. He comes off as a fully-realized character that has plenty of sides to him and you honestly can’t take your eyes off of. This performance is nowhere near the type of actor’s play-day performance Daniel Day-Lewis had with Plainview, but it’s still something that’s worth loving and remembering come Oscar time.

Then, you got Hoffman playing the type of Plainview-like character as Lancaster Dodd, a character that couldn’t have honestly been played by anybody else except for Hoffman. Hoffman does a great job with Dodd because he plays the character, like a guy that has so much charisma, so much heart, and so much warmth to him that it makes you realize why everybody feels so close to him that they could follow him and every word he speaks out. He’s almost reminiscent of Orson Welles in a way of how he’s all tight-lipped with his speeches and rarely ever loses his cool, but when he does, it’s one of the more memorable scenes since we see this character slowly start to unravel right in front of our eyes. It’s not like this character is treated like an evil piece of crap that nobody should care for, but is instead shown off to be a guy that believes in his own way of life and wants to spread that across to everybody else. Yeah, that could be viewed at as a bad thing but the film never quite portrays it as that and it’s another brave step Anderson was not only able to take with this story, but this character that Hoffman has also fully-realized in his own charismatic way.

Some may be surprised to see that Amy Adams doesn’t have a bigger role here as Dodd’s wife, Peggy, but does a nice job giving her character a very dark turn that I wasn’t expecting in the least bit. Still, out of the other two, she sort of comes off as the weakest-link and could have used a bigger and better role to be more substantial to everything that’s going on and the plot itself. Everybody else is good here too, and I like how Anderson made every character in this cast worth something and have their own moment, even if it may only be for a second or two.

So, here I am, going on and on and on about this flick and how amazing it is and you are probably sitting there wondering, “Oh em gee! Is he going to give it the prized 10/10 I haven’t seen in God knows how long??!?!”. Well, no. Sorry to burst your bubble everyone but this film did still have some problems in its own right and it’s that I think the emotional connection for this film was a bit more off this time around, probably due to the fact that the story is always weaving around and whatnot. With Daniel Plainview, it was easier to follow this character and know him for all that he was because it mostly just about him doing his own, evil thing, but here, the story goes back-and-forth between Freddie and Lancaster so much that it was a bit hard to build-up the tears when that ending came around. Also, there was this really strange scene that had to do with Amy Adams, Hoffman, and a bathroom that is still fresh in my mind because it made no sense and seems to be a bit misplaced in a film that seemed to really go for it all, in terms of being sane and keeping itself in reality. Still though, minor quibbles if you ask me.

Consensus: The Master could easily be a title that director P.T. Anderson is giving himself, because that is exactly what this guy is. Everything from the visuals, to the landscapes, to the score, to the performances, to the fully-developed story, to the religion movement; all are done with the masterful craft of Anderson and is sure to be one of the films to watch out for, come Oscar season.

9/10=Full Price!!


Magnolia (1999)

3 hours and 8 minutes that I was fully glued on to.

Through chance, human action, past history and divine intervention, an eclectic cast of characters (including Tom Cruise, Julianne Moore, William H. Macy and more) weaves and warps through each other’s lives on a random San Fernando Valley day, building to an unforgettable climax.

This is that one film that almost every critic loves, either because everybody loves the director, or just loves it because it is awesome. I cannot agree anymore with both reasons.

PT Anderson is an amazing director and can almost do no wrong. Here, he takes a page out of Robert Altman‘s book and takes all these stories, with a long running time, and makes each and every one interesting as anything. You would think with all these characters and stories, that you would get lost in between them all, but somehow Anderson creates tension and space within these stories so it’s all easy to follow along with. I still don’t know how Anderson got all of these stories to be so interesting but the dedication he gives to every story, ultimately keeps our minds on every single one.

The script is what really kept me involved because it must have been really hard to actually have all of this mean something in the end, and Anderson does that so well. There’s a lot of themes and points about happiness, forgiveness, and the overall meaning of life. Sometimes the feelings and emotion we have kept all up in inside, need to be let out, and in order for us to be happy we need to let these emotions be free and gain a better understanding of ourselves and the others around us. I loved what PT Anderson does with this script, because he makes it seem like everything is going to play out in the end through chance, but instead he totally pulls the rug out from underneath us and gives us something new and inventive that really works. Each and every story is filled with great dialogue that shows some funny as well as brutally emotional scenes, that will have you understand, that their are people out there like this, and that we all have problems and need love.

Also, when it comes to soundtracking emotional score music, whoever thought that Aimee Mann would be such a good choice? She brings so much to the table here, and actually brings out one of the most memorable scenes of the whole entire film.

A lot of people will talk about how the events that happen in this film are absurd, but I liked that part about it. However, my main problem with this film is that there are too many biblical references and ideas here that just seem to sort of take away from the story as a whole. Lines are actually said that reference the bible, and faith explanations, and this all seemed a little hoaky for me and just showed that maybe PT Anderson really did try too hard to get this film to be about something more than what it really was all about.

This is probably one of the best ensemble casts of all-time, because each and everyone adds so much more to their own story that it’s spell-binding. John C. Reilly is endearing as well as lovable as the nerdy cop Officer Jim Kurring, who brings so much likability to this role, that by the end of the film when you start to see where his character is going, you can’t help but love him. Melora Walters plays the girl he ends up going after, Rose Gator, who has some huge emotional problems but not once did I feel like Dillon was over-acting at all. William H. Macy’s story as Donnie Smith may not have been as interesting, but Macy brings out so much within this character that I couldn’t help but stayed glued to it. Philip Baker Hall is amazing as game show host Jimmy Gator, and gives it his all almost every single scene and just had me attached to his story every time it was on screen. Jason Robards in his last role ever as Earl Partridge, gives one of the perfect good-byes to cinema ever, and gives us more insight into this guy’s life through this whole film, even though he is just in his bed the whole entire film. Philip Seymour Hoffman is always amazing in what he does, and his performance as Phil is no different although he brings so much more to his character than you would expect. Somehow this guy makes crying all the time, really good. Jeremy Blackman gives an amazing youngling performance as the real heart of this film, Stanley, and it’s such a shame that he doesn’t do much anymore, because he does an amazing job here and gives me my most memorable character of the whole film. Julianne Moore plays crazy bitch Linda Partridge so well that I actually did start to believe that any second this chick would just snap and kill anybody who said the next wrong thing to her.

However, the best performance of this whole cast had to be that crazy, scientologist freak that is Tom Cruise. Cruise was perfectly cast as Frank Mackey, because the guy is such an asshole, and so cocky that it works well with Cruise’s own public image, but it also got to show that Cruise really can give off a performance even if he is self-parodying himself. Almost every single chance this guy gets, he absolutely demands your attention and you can help but give it to him, especially when his character’s true emotions come out, and then you see Cruise for what he is. An amazingly dedicated actor. This is one of Cruise’s best performances and that one perfect casting job, that shows a celebrity as more than just a pretty face on the cover of People magazine.

Consensus: Magnolia may suffer from being too pretentious, but Anderson does a creative and original job with his script and direction that it almost takes our minds away from the pitch-perfect performances here given by the amazing ensemble.

9/10=Full Pricee!!!