Dan the Man's Movie Reviews

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Tag Archives: I’m Still Here

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!!


We Own the Night (2007)

Marky Mark and Johnny Cash fighting off crime together!

Bobby Green (Joaquin Phoenix) manages a hot New York City nightclub, while his estranged brother, Joseph (Mark Wahlberg), has followed in their policeman father’s footsteps. But the two are reunited by dealings with the Russian mafia, which has a foothold in Bobby’s business. As Joseph puts pressure on the mob, its members turn the screws on Bobby.

I love cop films. Not actual cops, just the film’s that have to do with them. I just love cop films that can give me a good story, some nice acting, and fun action. This film is sort of like that.

This is the third film from writer/director James Gray, and he does a great job of keeping the pace going, as well as the tension within this story. Gray does a great job of going along with this slow pace enough to build up a huge amount of tension, to where when the action starts going down, it’s just insane. I also must add that there are a couple of action scenes here that are so perfectly filmed, that they really had me on the edge of my seat.

The one problem with this film is that the script starts to delve into some predictable places. To be honest, I don’t mind seeing something that isn’t crazy new or original, as long as it keeps me interested, but this film is nothing new from the cop genre film. I didn’t think the writing was as terrible as others felt but I just felt like it could have been better.

Also, the film was going so well for awhile until that last act came up, and they just sort of didn’t know what to do with it. I was having a great time following this story, the action, and the constant tense feeling this film gave me, and then by the end, something just happens where the story starts to lose control of itself and gets very predictable. This had me disappointed because the first couple of acts were good, which had me getting ready for an awesome ending, but instead, it was just pretty anti-climactic and nothing special.

I think Joaquin Phoenix took the role of Bobby Green because he knew he was going to be in every single scene here, and I’m not pissed that he was. Phoenix is awesome here as Green and shows a lot of depth into a character that needed it for us to actually stand behind him, and believe in everything he was doing. This performance sort of makes me forget that dumb shit he did in I’m Still Here. Mark Wahlberg does a good job as Joseph, and although isn’t in this much, still does not refuse to bring depth to his character. Eva Mendes is smoking hot in this film, but also very good and shows just why she is more than just a nice body, she can actually act it all out. Robert Duvall also does a very good job as Bert, and although isn’t in it as much, still does bring that signature cool old guy feel he brings to every role.

Consensus: We Own the Night is well-acted, and very suspenseful with it’s tense direction from James Gray, but starts to fall into predictable territory by the last act, and started to lose me and less as the film went on.


I’m Still Here (2010)

It’s weird when somebody says they have retired from the film industry, so they go out, and star in a film.

In 2008, Oscar nominee Joaquin Phoenix walked away from acting to pursue a rap career, an inexplicably bizarre detour captured in stunning detail in this documentary directed by Phoenix’s brother-in-law, Casey Affleck.

This is a movie I really need to think about. But not in the way that I was expecting. I was one of those people who talked about the Joaquin Phoenix interview on Letterman a year back, wondering if he was for real, or if we were all on a big prank? Well stop reading if you want to remain in mystery.

It’s all a fake everybody.

And the problem I had with this film was that it’s dumb-ass Director, Casey Affleck (no Ben that’s for sure), had to just tell everybody right away as soon as this was supposed to come out that this was all a hoax. I don’t know why, he couldn’t have waited till the DVD release, because when you have a film like this, you want it to be so unique, that everyone will be talking about it whether or not it’s fake, but when you tell people that it’s not real, you take away all the mystery, and isn’t that what going to see a movie is all about. So this ruined my watching experience in a way, because everything I saw, no matter how entertaining, and different, I just never got fully caught up in it, cause I knew it was all just a big joke, that never took me by storm as I wish it had.

However, there are some nice little touches this film did. I liked seeing how Phoenix made a lot of his scenes with other people, very strange, awkward, and just plain old weird, but I was fascinated watching. I also liked how Affleck captured the media storm that was focused on Phoenix the whole time, as he was being this huge nut ball.

For some viewers, heads will be turned away from the screen at time, cause there are countless penis shots, sexual encounters, and out of nowhere, crapping on people’s faces. That’s right I’m talking about a film about Joaquin Phoenix, not a Jackass movie. It also brings up plenty of questions of celebrity, reality TV, and the media, but none of them are ever answered, and it just leaves us unsatisfied.

If you honestly want to see this film, watch it for nothing more, than to see Joaquin Phoenix act his ass off. Watching him on screen, the whole time, seeing him interacting with all these celebrities, and sometimes real people, was so surreal, and being a Phoenix fan myself, it was cool to watch him. You see him as this crazy dude, that acts out in public, but then you see him confessing the way he acts, and why he does the way he does, and it’s all very good, but not too emotional, since I basically knew it was all a hoax.  But as a rapper, he’s good at getting high, but when it comes to the actual skill, and flow with rapping, he doesn’t quite have “it”, but he’s not terrible, and at least tries. There’s also some nice little spots by P. Diddy, Antony Langdon of Spacehog fame, Ben Stiller, and a surprisingly touching scene with Edward James Olmos. I miss that dude!

Consensus: It is really a hard piece to watch and enjoy, considering you know it’s a fake going in, but Joaquin Phoenix is good enough here, and it was nice to watch some parts of this film play out the way they did, but it just didn’t answer all the questions I would have hoped it did.