Movie Review: The Master

The Master (2012)
Directed by: Paul Thomas Anderson
Starring: Joaquin Phoenix, Philip Seymour Hoffman and Amy Adams

I reviewed this film for The Hollywood News.

Paul Thomas Anderson’s ambitious follow-up to his 2007 masterpiece There Will Be Blood has received a lot of ink touting it as the origin tale of Scientology. And, while aspects of The Cause (the cult at the heart of Anderson’s narrative) often mirrors certain methods promoted by Scientology, to simply categorize The Master as a loosely-based look at L. Ron Hubbard is to do it a great disservice.

The idea of a Scientology-like “religion” is used only as a narrative framing device — the film itself poses much more thought-provoking questions. Why are we susceptible to mind control and manipulation? What does it ultimately say about the human condition? Just how fragile are we?

Discharged US Navy officer and alcoholic Freddie Quell (Joaquin Phoenix) falls under the influence of the charismatic Lancaster Dodd (Philip Seymour Hoffman), taking to his cult group The Cause in a desperate attempt to tame his animalistic nature and put an end to his own rootlessness.

However, The Master is an intricate character study, first and foremost. It chronicles the lives of two very different men carrying their own unique emotional baggage. When the two collide and, for a brief time, appear to understand one another, it becomes apparent that their only real difference is how they each choose to handle their inner torment. Where Dodd went on to become The Master to the followers of The Cause, Freddie wallowed in his misery, constantly conjuring images of his violent past and the love of his life that he let slip away.

As Freddie Quell, Phoenix gives what is arguably the finest performance of his career to date. From his physical transformation to his fierce intensity, his full commitment to the role is palpable. His Freddie is a lost soul so damaged that he seems beyond repair. You don’t doubt that his admiration for Lancaster Dodd is genuine, although he appears to simultaneously love and loathe the only man who has ever given him the time of day. He’s teetering on the edge of insanity and Phoenix’s shocking performance is absolutely mesmerizing to watch.

With Lancaster Dodd, Hoffman is equally compelling as he goes from a charismatic father figure to launching a tirade of abuse against anyone who dares question his theories on life. Dodd thrives on the admiration of others and, beneath his jovial exterior, masks an ego that constantly needs nourishing.

In these early stages of the awards season, Phoenix and Hoffman are two clear frontrunners.

To enhance an already vivid experience, Anderson used 70 mm cinematography from director of photography, Mihai Malaimare Jr. The end result is a series of gloriously lensed, razor-sharp images that pop off the screen and lend the performances — specifically Phoenix’s haunted Freddie — an added layer of realism. You can see every line on his furrowed brow.

The Master is one of those films that will undoubtedly benefit from multiple viewings. While it may appear that the script only scratches the surface of its deeper questions and philosophies, Anderson’s latest entry does not judge his characters or their actions and does what any great film should — generate discussion, not only about film but life in general.

FINAL GRADE: A-

My Own Oscar Picks

Every year I do my own personal Oscar picks, just for fun. One of those "I would love to be in charge of the Oscars" type of things.

There are a few films I wanted to see before tomorrow's Academy Awards but wasn't able to get to them on time; therefore I can't include Javier Bardem for Biutiful or Nicole Kidman for Rabbit Hole even though I have a feeling I would have loved both performances and would have included them in my list.

BEST PICTURE
127 Hours
Barney's Version
Black Swan
The King's Speech
Toy Story 3
*My Pick: The King's Speech

BEST DIRECTOR
Darren Aronofsky - Black Swan
Danny Boyle - 127 Hours
David Fincher - The Social Network
Tom Hooper - The King's Speech
David O. Russell - The Fighter
*My Pick: Darren Aronofsky (Black Swan)

BEST ACTOR
Jeff Bridges - True Grit
Colin Firth - The King's Speech
James Franco - 127 Hours
Paul Giamatti - Barney's Version
Ryan Gosling - Blue Valentine
*My Pick: Colin Firth (The King's Speech)

BEST ACTRESS
Annette Bening - The Kids Are All Right
Julianne Moore - The Kids Are All Right
Natalie Portman - Black Swan
Hailee Steinfeld - True Grit
Michelle Williams - Blue Valentine
*My Pick: Natalie Portman (Black Swan)

BEST SUPPORTING ACTOR
Christian Bale - The Fighter
Matt Damon - True Grit
Andrew Garfield - Never Let Me Go
Mark Ruffalo - The Kids Are All Right
Geoffrey Rush - The King's Speech
*My Pick: Christian Bale (The Fighter)

BEST SUPPORTING ACTRESS
Amy Adams - The Fighter
Helena Bonham Carter - The King's Speech
Elle Fanning - Somewhere
Melissa Leo - The Fighter
Rosamund Pike - Barney's Version
*My Pick: Amy Adams (The Fighter)

Movie Review: The Fighter

The Fighter (2010)
Starring: Mark Wahlberg, Christian Bale, Amy Adams and Melissa Leo
Directed By: David O. Russell

The title suggests there is only one fighter, but David O. Russell's film is centred on two brawlers -- one an up-and-coming star, the other a crack-addicted one-hit wonder. Most will understandably assume it's Mark Wahlberg's Mickey Ward who is the fighter of the title; however, it could just as easily refer to Christian Bale's Dickie Eklund, who must battle his demons to regain the respect he lost when he became a drug addict and faded from the boxing scene.

Based on a true story, the film is set in 1993 when Mickey is on the verge of becoming a boxing superstar in his own right. Holding him back is his manager mother, Alice (Melissa Leo), and his half-brother, Dickie, who enter Mickey into mismatched bouts that bring more physical pain than career gain. Dickie famously beat Sugar Ray Leonard in a 1978 fight that, even in 1993, remained controversial. Did Dickie actually outbox his famous opponent or did Sugar Ray simply trip and lose his footing? Still remembered as "the Pride of Lowell," the now-drug addled Dickie relives his brief former glory through his younger brother's rising star. It isn't until Mickey meets feisty bartender, Charlene (Amy Adams), that he begins to question whether or not his family might be toxic and preventing him from reaching his full potential.

This is Wahlberg's third go-around with director Russell (following 1999's Three Kings  and 2004's I Heart Huckabees). Wahlberg, a dependable actor, does his best work with Russell. However, both actor and director are aware of the talented cast around them and, instead of Wahlberg going all out in the drama department, they let the supporting cast shine through. The story may be about Mickey, but he faces stiff competition from the fascinating slew of characters that walk in and out of his life.

Christian Bale leads the pack of supporting characters with his shocking physical and emotional transformation into Dickie Eklund. Bale lost an incredible amount of weight (although, it should be noted, not as much as he lost in 2004's The Machinist). He also thinned his hair (complete with bald spots) and dirtied his teeth to fully embody a man who still fancies himself the town's celebrity figure. His crack addiction is the worst-kept secret in the neighbourhood, but there's no denying the talent he once had, which is still evident as he trains his brother, Mickey. Dickie is both comic relief and a tragic character. Bale is almost scary-good with his black-rimmed and haunted eyes. You forget he's Christian Bale. His complete transformation into his role is admirable when compared to other actors who simply phone in their performances. Say what you will about Bale and his hot-headed temper, but the man is a genuine artist and he just might finally get that elusive Oscar this year.

In a handful of boxing movies, the women play background characters: The Girlfriend. The Wife. The Mother. While relegated to the background, they show up only to provide brief emotional support or get punched around themselves. Films about boxing tend to only be about men. In The Fighter, the women are just as strong, fascinating and hardened as their male counterparts.

Amy Adams once again proves that, if she stays away from lame rom-coms, she can be an exceptional actress. Her role as Charlene is strong and fierce; she's not a woman to be messed with and she wants nothing but the best for Mickey, even if that means convincing him to detach himself from his family. Her violent physical tilts and war of words with Micky's mother and seven sisters make for some of the best scenes in the film. She might be heading towards yet another Oscar nomination this year. In a recent interview with David Letterman, both Dustin Hoffman and Robert DeNiro cited her as their favourite young actress working today. With friends like that in her corner, Adams should remain focused on starring in well-made cinematic gems.

Last, but not least, Melissa Leo is trashy and fabulous as Mickey's mother, Alice. With her horrifically permed and bleached hair, constant chain-smoking and stiletto heels, she's a force to be reckoned with and she doesn't let anyone forget that her two sons are her main source of pride and joy. Bale, Adams and Leo are all nominated for Screen Actors Guild Awards and Oscar kudos are likely to follow.

The camera work is exceptional: you are literally placed in the middle of both Mickey's battles inside and outside the ring. Whether it's a boxing match against a formidable foe or a verbal battle with his head-strong mother, the camera chronicles the events as though recording a documentary. You feel every punch and every verbal blow.

FINAL GRADE: B+