| Seeds: 113 Leechers: 75 |
| Language: Eng Runtime: 144 min Audio: 5.1 Resolution: 720x480 Frame Rate: 23.9 fps Video Audio Bitrate: 256 kbps |
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Review: Paul Thomas Anderson has grown as perhaps the greatest American writer of his generation. At 42, this is his sixth film (1996s after Hard Eight, Boogie Nights 1997s, 1999s Magnolia - my favorite of all time - 2002s Punch-Drunk Love and There Will Be Blood 2007s). Like the master Kubrick and Terrence Malick aging teacher (who just debuted his sixth film, Marvel at the last Venice Film Festival, where he won defunct PTA Leó n Silver for Best Director), he is not the most prolific filmmakers, but his perfectionist creations, but surprisingly cinematic cerebral and emotional, always leave an indelible mark (polarize audiences, but usually wins praise from assessment). The Master is no exception. Shot on 70mm film, not so much an outdoor epic as you might think - even though each image is beautiful and perfectly integrated (thanks to cinematographer Mihai Malaimare Jr., who replaced Robert Elswit Anderson regular contributor). It resembles Be Blood in tone and content, but it stands on its own (Jonny Greenwood is once again responsible for the score). Freddie Quell (Joaquin Phoenix) is a troubled drifter the right hand of Lancaster Dodd (Philip Seymour Hoffman actor extraordinaire) is the captain of a sect called the cause of the post-World War II United States. Their strange relationship is ambiguous is the center of the film. The Maestro is a reflection acusacióna bigotry and lies sold as cult religion that has caused even before its release. Controversy and concern among Scientologists By not mentioning real names, Anderson is able to expand the scope of its history and richer - and subtle - a film of Scientology would have been easy. Like his previous films, there is more than it seems in a single view, and the attention to detail is worth it (there is also a visual ode to Jonathan Demmes Melvin and Howard, another favorite anderson, in a scene of motorsport). Hoffman is as good as ever, and Amy Adams is very effective (slowly depriving cheesy mannerisms) as his wife. David Lynch's golden girl Laura Dern plays a small role. But this is Joaquín Phoenixs hours, all the way. Rio Phoenixs younger brother has become a fascinating player himself and Gus Van Sants black comedy for a Dream (1995), and, after his retirement from the much-hyped music actuacióny hoax career in 2009, he managed to return return with a show for all ages, which will culminate in the Oscar. As for Anderson, it is not certain that the Academy finally recognized as he deserves. His films may still be too extravagant for the Academy's tastes are (hes announced his next project will be an adaptation of the novel Inherent Vice Thomas Pynchon crime, a seemingly less ambitious project that hoped to five years). Regardless of the numbers of the Oscar, we can be sure that there is hope in a world where the PTA gets to do this kind of personal and original work and an audience, yet, and the fourth by intelligent cinema.
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