Six-time Academy Award Nominee, Paul Thomas Anderson (PTA), soared to new heights with his 2008 drama There Will Be Blood. The film captured a pair of Oscar wins (Best Actor Daniel Day-Lewis and Best Cinematography), with an astounding 8 Nominations in total, and Hollywood eagerly awaited whatever was next in line for the now-proven filmmaker. Five years passed before PTA returned with The Master and then came Inherent Vice, both of which earned select recognition from the Academy, but neither of which came close to the adoration of his previous masterpieces. And now we’re given Phantom Thread, a true return to form from the extraordinary mind and keen eye of a visionary unlike any other.

Daniel Day-Lewis stars as Reynolds Woodcock, a 1950s dressmaker whose intense loyalty to his craft has made him a staple within wealthy, high-end circles. But once he meets and falls in love with Alma (Vicky Krieps), an equally stubborn young woman who slowly becomes a disruption in his difficult-to-please lifestyle, their relationship is pushed to incredibly harsh extremes. If only something could be done to keep this love and interdependence from withering way.

Exquisitely shot and brilliantly scored, Paul Thomas Anderson’s Phantom Thread stands as a stunning model of technical mastery. It’s picturesque set and costume design perfectly capture an atmosphere necessary to facilitate PTA’s unorthodox and hypnotizing tale. At first glance, the film’s premise offers very little bite or intrigue, yet Phantom Thread hooks its viewers with emotionally deep and complex characters whose whole-hearted investment in their relationship demands to be mirrored by the audience. And as this clever and unpredictable story continues to draw you in, PTA reshuffles the deck for a phenomenal closing sequence that makes these characters even more mystifying and alluring than they’ve already become. PTA’s wizard-like twist of perception vs reality is mightily enhanced by a trio of illuminating performances. First there is Daniel Day-Lewis (DDL), a three-time Oscar-winning actor who still declares his role as Reynolds Woodcock to be his final onscreen work. DDL’s talents need no support or explanation, as his uncanny ability to suck the air out of a room and completely steal the audience’s attention from everyone else around him is somehow resisted by equally impressive turns from both Lesley Manville and Vicky Krieps. All three are worthy of nods from the Academy, as Manville continues a career trend of stellar, yet underappreciated, work, and Krieps breaks out in grand fashion by somehow standing toe-to-toe with the great Daniel Day-Lewis. Phantom Thread waltzes from scene to scene, beautifully-framed and slowly orchestrated, exploding with an unforeseen finale that marks a triumphant return to glory for Paul Thomas Anderson

GRADE: 4/5

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I’m trying a brand new offering to the Geekscape podcast, dictated by my rambling streams of consciousness and obsessive need to over think the media that I take in. Today, let’s talk about P.T. Anderson’s ‘The Master’, specifically the metaphor that Scientology provides and how it can be used to talk about art, film and Anderson himself. If you’ve got something to say, throw it on the site!

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The Master is the latest film by Paul Thomas Anderson. The film follows Freddie Quell (Joaquin Phoenix), a WW2 veteran suffering from post traumatic stress disorder and alcoholism, who after being released from the Navy, drifts from place to place unable to keep a job. Eventually, he becomes a stowaway on a boat bound to New York City from San Francisco. The commander of the boat is Lancaster Dodd aka ‘The Master’ (Philip Seymour Hoffman). There, he is introduced to Dodd’s ‘The Cause’, a Scientology-like message of empowerment. Newly recruited to ‘The Cause’, Freddie travels with Dodd, his wife (Amy Adams) and his entourage around the US spreading The Master’s message.

To start off, I will say that I knew almost nothing about this film except that it was apparently about Scientology. And all I know of scientology I gleamed from South Park and once getting a Dianetics test at the CNE (the CNE is a massive carnival/fair that happens at the end of the summer every year in Toronto).

The film opens with absolutely stunning visuals which reminded me of Anderson’s ‘There Will Be Blood’. I was looking forward to a long period of visually driven storytelling and although there was some dialogue I wasn’t disappointed. Anderson has the ability to capture and maintain an audience’s attention for long durations using only exquisite visuals. And the film has its long durations, clocking in at 2 hours and 17 minutes.

From start to finish, the film is beautifully shot and has a number of beautiful sequences reminiscent of Rembrant paintings… but with more nudity. Unexplained nudity is par for the course in this film. However not overtly explained, the nudity is validated through Quell’s unquenched sexual appetite and failed sexual romances. One odd sequence is during a ‘Cause’ meeting where all the women instantly have no clothes on and they remain like that for the duration of the sequence. If this is part of the Cause’s message, you have our attention.

Joaquin Phoenix’s performance is a mater class in acting. Although it is hard to separate him in my mind from the man who shit on someone sleeping as a performance art piece I was often completely lost in his work as Quell. Physically, I can’t imagine Phoenix committing more wholeheartly to the roll. Also, I am surprised that I didn’t see him give himself lacerations or broken bones during some of the more physical parts of his performance as Quell wrestles with his post traumatic stress disorder. He was able to completely fall into the roll of drifter/alcoholic which makes me wonder if his whole I’m Still Here foray was not some Daniel Day Lewis type method research. Phillip Seymour Hoffman’s performance is also something to take note of. His ability to disappear into Lancaster Dodd is remarkable and even with such weighted subject matter, he keeps the performance honest and unbiased.

When going through some notes before seeing this film I came across a script from college with a note from a writing prof saying characters are story. This is a perfect example of that note. The film is about a man searching for acceptance. We learn that Quell’s father died of alcoholism and his mother is in an insane asylum. The girl of his dreams lives back in his hometown and he pines forever on a love that will never be. Pile on top of this his inability to deal with the traumas he’s encountered during his time in the South Pacific. Phoenix’s ability to balance all of these pieces make him a contender for award’s season.

I am constantly asking myself ‘How do cult leaders draw in their followers?’ I don’t think The Master attempts to answer this question but the character exploration from both sides pulls the audience in and keeps them. People are generally looking for validation or confirmation in what they do and the characters that have been crafted here explore that beautifully. As Quell’s father figure, Dodd gives Quell what is missing in his life – purpose, opportunity and affection. As a statement on organized religion and indoctrination, ‘The Master’ sends a pretty powerful message about the ways that repair can also rupture an already broken soul.

‘The Master’ is a definite 5 out of 5.

Here’s a new trailer for Paul Thomas Anderson’s latest movie The Master.

A 1950s-set drama centered on the relationship between a charismatic intellectual known as “the Master” whose faith-based organization begins to catch on in America, and a young drifter who becomes his right-hand man.

The film stars Joaquin Phoenix, Philip Seymour Hoffman and Amy Adams. It opens in limited release on October 12th.

It’s trailer day apparently between this and Skyfall. You might be surprised to be seeing a trailer for a cinematic and profound film (and dare I say pretentious) movie such as The Master appearing on Geekscape. But here at Geekscape, we honor all types of geeks, from video games to film fanboys.  As a film fanboy, I think this movie looks stellar. You might remember Paul Thomas Anderson as the guy who did a little movie called There Will Be Blood in 2007. Oh… and Magnolia, Punch Drunk Love, Boogie Nights and Hard Eight.

Can we just give him some Oscar nominations now?