Never, Rarely, Sometimes, Always
With stunning performances from two completely genuine young leads, this is a movie people will talk about all year.
* This filmography is not intended to be a comprehensive list of this artist’s work. Instead it reflects the films this person has been involved with that have been reviewed on this site.
Chaz Ebert reveals her Top Ten (PLUS) Films of 2019.
Glenn Kenny on the staff pick for the 10th best film of the 2010s, Paul Thomas Anderson's The Master.
A countdown of our most anticipated films coming this winter.
A review of the fourth season of Netflix's "Black Mirror."
Reviews from the Toronto International Film Festival of the latest by Louis C.K., Scott Cooper, Angela Robinson and Melanie Laurent.
The 25 films we're most excited to see during the fall of 2017.
An interview with Riley Keough, star of "American Honey," "The Girlfriend Experience," and next week's "The Discovery," premiering on Netflix.
A dispatch on two high-profile Sundance premieres, starring Jason Segel and Jeremy Renner.
Premieres, Midnights, Special Events and more have been announced for next month's Sundance Film Festival.
A TV critic's picks for the best TV of 2015-16.
A dispatch from Sundance 2016 on "Belgica" and "Other People."
A review of season two of FX's "Fargo."
A review of Stephen Frears' "The Program" with Ben Foster.
A review of the two TIFF 2015 gangster movies: "Legend" and "Black Mass".
Movies usually present the life and religion of conservative masses as that of simple-minded, bigoted country bumpkins. Paul Thomas Anderson's "The Master" (2012) explores the life and religion of the liberal elite, presenting them as sophisticated frauds eagerly exploiting eagerly exploitable colleagues. If we spoke of "There Will Be Blood" (2007) as "madness," we might accurately speak of this film as "intoxication." And, as is the case with the previous film, "The Master" is amazing in its characterizations, sails us through its cinematography and faded colors, but its narrative confuses us. It is said to be a story about the development of Scientology, but it also recalls Byrne's "The Secret," as well as most every television healer on either side of the Atlantic or Pacific. I don't know that the story is about the religion or the cult leader, as much as it is about the rabid pit-bull he keeps on his leash.
I apologize for the lack of postings the last few weeks. A recent flare-up of heart problems left me with little energy to write. But as the emaciated old man in "Monty Python and the Holy Grail" says: "I'm feeling much better!"
At one point well into Paul Thomas Anderson's "The Master" I thought that the movie was going to reveal itself as a story about the meaninglessness of human existence. But that notion was based on a single piece of aphoristic, potential-thesis-statement dialog that, like much else, wasn't developed in the rest of the movie. Which is not to say that "The Master" isn't about the meaninglessness of human life. The line, spoken by Lancaster Dodd (Philip Seymour Hoffman), the cult guru known to his acolytes as Master, is addressed to the younger man he considers his "protégé," a dissolute mentally ill drifter named Freddie Quell (Joaquin Phoenix), and the gist of it is that the itinerant Freddie has as much to show for his life as somebody who has worked a regular 9-to-5 job for many years. The point being, I suppose, that for all Freddie's adventures, peculiarities and failures, he isn't all that much different from anybody else. Except, maybe, he's more effed-up.