'The Master' review:

Aside from general tardiness, the reason I have taken so long to review 'The Master' - in spite of the fact I made sure I saw it first thing on the day of release - is because I haven't been entirely sure what to make of it. I make no secret of the fact that director Paul Thomas Anderson's 'Punch-Drunk Love' is my favourite film, which means watching the filmmaker's first feature since the almost equally brilliant 'There Will Be Blood' comes with a certain weight of expectation and a desire on my part to avoid a reactionary response which I might regret later! Mostly because I suspected (and continue to suspect) that his latest is a film which will gain a lot from repeated viewings.

'The Master' is not, at least to my mind, an immediately gratifying film. There are immediately gratifying elements, to be sure - the cinematography and Anderson's use of camera is one of the most obvious, as are the two central performances - but this story-light script is much more of a character study and exploration of various themes (such as religion as institutionalism and whether it is truly possible to be your own master). There's nothing wrong with that at all, and in fact the most interesting films are usually about characters rather than a narrative sequence of events, but 'The Master' takes this to an extreme, with very little happening outside of its broader exploration of themes.

The story boils down to: a mentally troubled man (the chameleon-like Jaoquin Phoenix) leaves the Navy after WWII and finds it difficult to maintain a job or relationship upon his return home. Circumstances lead to a chance encounter with a charismatic cult leader (Philip Seymour Hoffman), whose sheer force of personality and assumed place of authority subdue Phoenix and make him feel as though he belongs, becoming the cult's least questioning acolyte, intolerant of the slightest criticism of Hoffman and given to violence against perceived enemies of The Cause (a clear analogue of Scientology). Things happen, of course, but they aren't presented as a series of cause and effect events. Rather, various encounters between Phoenix and Hoffman, and all the incidents in between, serve as vehicles to explore the film's themes. Making it a difficult but potentially rewarding watch.

Hoffman's every mannerism and intonation is inspired, with the master already one of his best characters, whilst his customary ability to switch from gentility to rage is exploited here to its very best, and it's his scenes opposite the quiet, unhinged menace of Phoenix that are the film's clear highlight. In fact an interrogation scene between the two and their final scene together at the end - in which Hoffman delivers a truly brilliant monologue - are among the best individual scenes Anderson has ever filmed. Meanwhile Jonny Greenwood again provides the score, which whilst not as visceral and consistently unsettling as his work on 'There Will Be Blood' (or Jon Brion's mesmeric score for 'Punch-Drunk Love') is still one of the year's best.

I'll return to this film in the near future and will probably come back to talk about it some more when it's clearer in my own mind. In the meantime, it goes without saying that it's worth seeing and a masterpiece in so many ways, even if I'm not yet certain how great it is overall.

'The Master' is rated '15' by the BBFC and is on general release now in the UK.

Trailer: Paul Thomas Anderson's 'The Master'

It's been five long years since Paul Thomas Anderson released 'There Will Be Blood', but now his long-awaited follow-up 'The Master' finally has a trailer. Fans of Anderson will immediately recognise his use of oppressive and rhythmic music which creates tension and discomfort, as best exemplified in this clip from one of my favourite all-time movies. It's also great to see the return of Jaoquin Phoenix in his first film since 2010's mockumentary 'I'm Still Here' - a film that took about four years out of his career all told. He looks great here in another wholly transformative role. What's really impressive about this trailer is that it's immediately involving. That the film looks this good before we've even seen Phoenix's co-star Phillip Seymour Hoffman is something to be very excited about!

'The Master' about a religious cult led by Hoffman, thought to be based on Scientology. It was thought cancelled a year or so ago but has reemerged and now looks set to be released in prestige season - so expect to see it December/January time.

My top 10 films of the 2000s...

It struck me the other day that I haven't picked my list of the top 10 films of the last decade (2000-2009). Therefore, here is a list of my favourite films of the last ten years. Note that these are the ones I enjoy the most rather than the "most significant". These films have affected me the most emotionally and given me the most pleasure over repeat viewings. There is certainly a Hollywood dominance over this list with all but two of the films being from the US. There are two Charlie Kaufman screenplays in there and two films at least co-written by Noah Baumbach.

However, the main thing I've noticed from this list is that (with the possible exception of one or two films) all these movies have protagonists many have described as unlikeable. I suppose I like flawed characters, often socially awkward, damaged people. There are plenty of them in this list from Leonardo DiCaprio as Howard Hughes to Adam Sandler as Barry Egan.

Anyway, here they are:

10) The Aviator
Martin Scorsese/USA/2004
Controversially, this is my favourite Scorsese film. DiCaprio is great as Hughes in this humanistic, non-judgemental portrait of a flawed genius now best known as a reclusive freak. There is more subtlety here than I usually associate with Scorsese (or Michael Mann who produced the film and started the project) with a detailed and slow development of Hughes' ticks and eccentricities. Also, the film is replete with immaculate period detail.


9) A Serious Man
Joel and Ethan Coen/USA/2009
A slow burner this one. I was unsure after my first viewing of this Coen Brothers' film. However, after seeing it a second time it went straight to the top of last years "best of" poll. Stage actor Michael Stuhlbarg is great in the central role as Larry Gopnik in this rich and funny film which is probably the duo's most cerebral since 'Barton Fink'.


8) Eternal Sunshine of the Spotless Mind
Michel Gondry/USA/2004
A brilliant screenplay which has a lot to say (as you'd expect from Charlie Kaufman) about memory, regret and human relationships. As with all Kaufman films, there is much to be sad about and plenty of bleak, somewhat depressing ideas, but the conclusion is hopeful and beautiful. The second Kaufman screenplay directed by Michel Gondry, this film is certainly an improvement on the 2001 film 'Human Nature' (which is very good, but not great).


7) Spirited Away
Hayao Miyazaki/Japan/2001
The only animation on this list, this Japanese film from Hayao Miyazaki proved that Studio Ghibli are at least as good as Pixar in terms of being the best animators in the world today. Joe Hisaishi's score is genius and compliments a really heart-warming human story in an imaginative fantasy context.


6) The Dark Knight
Christopher Nolan/USA/2008
Easily the most exciting blockbuster of the last decade, Christopher Nolan's Batman sequel is an intelligent summer movie with a top ensemble cast and jaw-dropping stunts. If Nolan makes another Batman it will easily be the film I am most excited about seeing. I'm even excited about the Superman film he is producing!


5) The Life Aquatic with Steve Zissou
Wes Anderson/USA/2004
All of Wes Anderson's 00's output could be on this list (but I thought that's be boring) so I struggled and chose this one because I probably find myself quoting it the most. Plus, it's really emotional at times and Murray is great as Zissou.


4) Happy-Go-Lucky
Mike Leigh/UK/2008
Mike Leigh really did something special with this one (which I wrote about recently on this blog). A terrific character study from Sally Hawkins as Poppy in a film which is as much an allegory for differing philosophies on education as anything else.


3) The Squid and the Whale
Noah Baumbach/USA/2005
I recently reviewed Noah Baumbach's latest film 'Greenberg', but before I loved that film I loved 'The Squid and the Whale'. Baumbach co-wrote 'The Life Aquatic' with Wes Anderson and Anderson returned the favour by producing this film which is note perfect in its depiction of the relationship between Jeff Daniels and Jesse Eisenberg as a pretentious father and his admiring son.


2) Adaptation
Spike Jonze/USA/2002
Before the recent films 'Kick-Ass' and Herzog's 'Bad Lieutenant' Nicolas Cage's last film to be proud of was this Spike Jonze/Charlie Kaufman (again) film in which he plays the author and his fictitious twin brother "Donald". Brian Cox is just as great in an almost film-stealing role as a screenplay writer giving a seminar on the craft. His character perfectly sums up artistic pretension (something done less well in the Kaufman directed 'Synechdoche, New York' in 2008). Also, Donald's monlogue near the end moves me to tears every time.


1) Punch-Drunk Love
Paul Thomas Anderson/USA/2002
I won't write anymore about this film as I am always going on about it. Here is my detailed retrospective look from a few weeks back.


Honourable mentions got to the following films which almost made the list. In no particular order here are 15 other great films from the last decade:
Grizzly Man (2005)
Lilo & Stitch (2002)
Up (2009)
There Will be Blood (2007)
No Country for Old Men (2007)
The Royal Tenenbaums (2001)
Y tu mamá también (2001)
Humpday (2009)
Amelie (2001)
City of God (2002)
Team America: World Police (2004)
Runnin' Down a Dream (2007)
The Motorcycle Diaries (2004)
This is England (2006)
In Bruges (2008)

Retrospective Review: 'Punch-Drunk Love'

Here is the first in a planned series of retrospective reviews of some of favourite movies. I have chosen to start this series with a look at a movie which is depicted in this blog's heading and which I have frequently mentioned in my posts:



‘Punch-Drunk Love’ (2002) is the fourth feature film directed by Paul Thomas Anderson and stars Adam Sandler, who became a major box-office draw in the latter half of the 1990’s with broad and brash man-child comedies like ‘The Waterboy’ (1998) and ‘Big Daddy’ (1999). But it should come as no surprise that ‘Punch-Drunk Love’ isn’t a slapstick comedy farce, however, as Anderson had come to prominence with such bold and unusual films as ‘Boogie Nights’ (1997) and ‘Magnolia’ (1999) and would go on to make the dark, satirical oil-epic ‘There Will Be Blood’ (2007), which was nominated for the Best Picture Oscar at the 80th Academy Awards and also earned Anderson a nomination for directing (although it was defeated in both categories by the Coen brothers’ ‘No Country For Old Men’).

‘Punch-Drunk Love’ is not an easy film to summarise, although the surface level “plot” is admittedly rather slender. Barry Egan (Sandler) is a nervous and isolated man who is unable to express himself emotionally, a fact which leads to sudden fits of violent rage (a typical Sandler archetype, though played much darker here). Barry soon meets Lena (Emily Watson) and they share a mutual attraction, but Barry feels uncomfortable talking to women and avoids the situation. To confront this issue Barry takes the step of calling a sex hotline, however this leads the hotline’s supervisor (played by Phillip Seymour Hoffman) to attempt to blackmail Barry, with violent repercussions for everyone involved. Against this fraught backdrop Barry and Lena begin a romance. Explaining the story like this will give you some idea of what happens, but very little idea what the film is about.



Whilst Todd McCarthy of Variety found the film to be “marked by audacious strokes of directorial bravado” and Roger Ebert found it “exhilarating”, some critics were less enthusiastic when the film was released, with Lawrence Toppman of the Charlotte Observer expressing the belief that “‘Punch-Drunk Love’ buries a terrific performance by Adam Sandler under a heap of faux cleverness, meaningless symbolism and irritating mannerisms.” The accusations of “meaningless symbolism” and “faux cleverness” are probably directed at the way Anderson’s film uses symbols and visual motifs to represent feelings and themes. For example, early on in the film Barry witnesses a massive, unexplained, unrealistic (and never again referenced) car crash, which is immediately followed by a taxi cab leaving a harmonium on the sidewalk. For me, the car crash represents Barry’s heightened anxiety at the outside world, which he is afraid of and unable to relate to, and the harmonium becomes a method of catharsis during the film's most stressful moments, representing beauty and a reason to keep on. These moments serve to make ‘Punch-Drunk Love’ a genuinely cinematic experience with Anderson painting on a large canvas, covering the emotional rather than the literal.

The real triumph of ‘Punch-Drunk Love’ is that the viewer is forced to experience Barry’s emotional state and to see situations through his eyes. For example, in an early scene Barry attends a gathering with his seven sisters in which he loses the plot and completely destroys a glass patio door. Nothing the sisters say during this sequence is malicious or intended to rile Barry at all, in fact his sisters can’t understand why he acts the way he does towards them. However, the scene is cleverly devised so that the viewer experiences what they are saying the way Barry does: the sisters are loud and their voices overlap as they tell stories about his childhood which they think are amusing and endearing but which he interprets as a personal attack. When he destroys the glass door it is without question a disturbing, seemingly unprovoked overreaction, but one which we are made to understand and empathise with due to the mounting anxiety and hysteria created by the mood to the sequence.



The experience of watching ‘Punch-Drunk Love’ is visceral, emotional and often horribly tense, thanks in no small part to (frequent Anderson collaborator) Jon Brion, whose excellent score plays a huge part in creating the film’s atmosphere which can change quickly from terrified anxiety to pure elation, often within moments. Likewise the cinematography of Robert Elswit (who has worked on every film of Anderson’s since 1996’s ‘Hard Eight’) is breathtaking. The film’s use of colour is stunning with a muted blue colour palette, which contrasts brilliantly with some of the later scenes which display a much more intense, bright and sharply defined use of colour. These elements compliment the stunning multi-coloured visual interludes designed by the late Jeremy Blake, which feel as though they are being painted by Jon Brion’s music. All these elements complement each other so wonderfully that ‘Punch-Drunk Love’ is perhaps the most perfect movie yet by a director who seems destined to be hailed as an American master.

10 directors who excite me now...

Don’t know why I fancied writing about this today, but here are my top 10 active filmmakers. I don’t mean the “top 10 greatest living directors”, but rather, this is a list of directors whose work I am still excited by and always eagerly anticipate. Of course, the best living directors could include people whose powers have long since diminished: Woody Allen, Steven Spielberg and Jean-Luc Goddard could all be considered “great” directors, but when was their last “great” film? Yes, these guys can still make good films: Woody Allen releases one good film a year, generally. But however good ‘You Will Meet a Tall Dark Stranger’ is, chances are it won’t hold a candle to ‘Manhattan’ or ‘Annie Hall’, in the same way that ‘The Terminal’ and ‘Munich’ aren’t destined to be remembered as being up there with ‘Jaws’ and ‘ET’.

Of course, this doesn’t mean to say that the next Spielberg film won’t be a classic, but it’s all about expectations, isn’t it? And as far as Spielberg is concerned: unless it’s a fourth Jurassic Park movie, I’m not interested.

I also haven’t included Armando Iannucci (‘In the Loop’), Chris Morris (‘Four Lions’) or Martin McDonagh (‘In Bruges’), because although their films are probably some of the most exciting I have seen in the last few years (and I eagerly await their next efforts) I want to focus on directors whose films have consistently dazzled me. Anyway, with that proviso, on with the list (in no particular order)…

Wes Anderson
My favourite film: 'Bottle Rocket' (1996)

Wes Anderson is possibly my favourite current director. I have never been left disappointed by one of his films (though I know many didn't like 'Life Aquatic' or 'Darjeeling Limited' overly). I love how good-natured his movies are and how the portagonists are vulnerable and childish people, fond of being in teams and of being liked. Anderson's films aren't cynical and they exist as a celebration of life and of colour. I feel moved and uplifted by scenes in all his films to date and whatever his next project after the splendid stop-frame animation 'The Fantastic Mr. Fox', I am very excited.

The Coen Brothers
My favourite film: 'The Big Lebowski' (1998)

A slightly more complicated relationship exists between me and the Coen's, but only slightly. This is only reasonable though: they have made many more films than Wes Anderson after all. Basically, they had a bad patch with 'Intolerable Cruelty' (2003) and 'The Ladykillers' (2004), the latter being a god-awful remake of a genuine classic Ealing comedy, and wisely took a few years off to return in a blaze of glory with the Oscar-winning 'No Country for Old Men' in 2007. Now they are following up my favourite movie of last year ('A Serious Man') with another remake (although they insist it's more of an adaptation of the book than a remake) as they prepare to release 'True Grit' this December. Jeff Bridges (the Dude himself) is taking on John Wayne's own Oscar-winning role as Rooster Cogburn and I am pretty excited. After all, 'No Country' was, for all intents and purposes, a modern Western and it was incredible. I have faith.

Anything written by Charlie Kaufman
My favourite film: 'Adaptation' (2002)

The only writer on this list (although he did direct 'Synechdoche, New York' himself), Kaufman, in his work with Spike Jonze ('Being John Malkovich' and 'Adaptation') and Michel Gondry ('Human Nature' and 'Eternal Sunshine of the Spotless Mind') has proven himself a genius time and time again. All his films have endless replay value for me, and each time I learn a little more about them. They are probably the most endlessly rewarding films ever made.

Christopher Nolan
My favourite film: 'The Dark Knight' (2008)

Here's a man who has never steered me wrong (so far)! It is a close three-way tie for his best film ('Memento' and 'The Prestige' are just as good as 'The Dark Knight') but his second Batman film excited me the most of all of them. My favourite superhero movie and the first/last time I really got excited at stunts and set-pieces in the last ten years of cinema. I love it! 'Inception' (due out very soon) looks... interesting (the trailer gives almost nothing away), but I have no reason to doubt that Nolan will deliver again.

Hayao Miyazaki
My favourite film: 'My Neighbour Totoro' (1988)

The best living animator. That's all I have to say. 'Ponyo' was great and whatever he makes next will be great. Sorry if that doesn't sound objective, but his films move me and excite me. Like Wes Anderson, there is an innocence and naivety about his work which is charming but never twee. Just too good. Soon he will retire, but I hope we get a few more classics yet.

Werner Herzog
My favourite film: 'My Best Fiend' (1999)

What can I say about the insane genius that is Herzog? Whilst I did enjoy the likes of 'Rescue Dawn' and 'Bad Lieutenant', I proberly prefer his documentaries these days. I suppose that's mainly because he narrates them and because he never tackles any subject matter in a traditional way. When he films penguins it is to find their inherent madness and obsurdity. One of my favourites is a short from 1977 called 'La Soufrière', in which he travels to a volcano that is about to errupt and films it up close, with no regard for his own safety. I am looking forward to whatever he does next, as well as a UK release of 'My Son, My Son, What Have Ye Done?'.

Paul Thomas Anderson
My favourite film: 'Punch-Drunk Love' (2002)

This guy is just amazing. 'Punch-Drunk Love' is possibly my favourite film of all time and 'There Will Be Blood' (2007) is right up there too. Then we have 'Magnolia' (1999), 'Boogie Nights' (1997) and 'Hard Eight' (1996). Basically he is like no one else, visually and in terms of the way he tells a story. 'Punch-Drunk Love' and 'There Will Be Blood' unite the music and the image like nothing else I've seen. His next film is getting me very excited indeed, especially as 'The Master' stars Phillip Seymour Hoffman.

Takeshi Kitano
My favourite film: 'Hana-bi' (1997)

Probably best known here as the presenter of 'Takeshi's Castle', an odd Japanese gameshow, or as the sinister, evil bloke at the start of 'Battle Royale', but Takeshi 'Beat' Kitano is an institution in his native land. A stand-up comic, turned actor, turned award winning, internationally recognised director. He can do anything, from straight police thrillers like 'Violent Cop' and 'Sonatine', to slapstick comedy in 'Getting Any?' (maybe the maddest film ever), to the more poignant, festival friendly 'Hana-bi' (which won the Golden Lion in Venice in 2007), establishing him as the most internationally relevant Japanese filmmaker since Kurosawa. He also tackled the long-running 'Zatoichi' franchise in 2003, making a damn fine samurai film too. I am yet to see his 'Takeshis' trilogy (released 2005, 2007 and 2008 to bad reviews) which is more autobiograhical, but I am excited to see his latest film 'Outrage', which played at Cannes.

Brad Bird
My favourite film: 'The Iron Giant' (1999)

The second animator on my list (although his next film is 'Mission Impossible 4' in live-action), Brad Bird caught my attention with 'The Iron Giant', an overlooked Warner Brothers animation. That film has such loving attention to detail it is perhaps the best non-Disney, American feature animation ever. He then went on to work for the great PIXAR and made 'The Incredibles' (my second favourite superhero film) and 'Ratatouille' (which also ain't bad). I am not super enthused to see 'MI4', but I would like to see whether he takes a unique visual style into live-action, like animators Burton and Gilliam have in the past. Could be interesting.

George Lucas
My favourite film: 'Star Wars' (1977)

A real wild card pick here! Since 1971's 'THX 1138', George Lucas (a peer of Spielberg, Milius, Coppola, Scorcese and De Palma) has made just five films as a director. 'American Graffiti' (1973) is a classic that inspired many immitators (not to mention the TV show 'Happy Days') and launched the career of Ron Howard (Lucas also gave Howard his first directorial job with 'Willow'). Then he made 'Star Wars' in 1977 and everything changed, for Hollywood movies and for Lucas. He didn't direct the sequels, or his 'Indiana Jones' screenplays, only returning to the director's chair in 1999 with the first of three critically despised Star Wars prequel movies (which I enjoyed). The last of these came out in 2005. But will he ever direct again? Will he ever make a non-Star Wars related movie? You see, that's why Lucas excites me as a director. I am intigued about what he would make and how he would make it if he ever decided to stop riding the Star Wars gravy train. His first three movies were classics, what happened?