Skip to main content

6th November 2012

‘The Master’

Samuel Parr guides us through what makes this new release so promising

Come the end of this autumn, one film should remain in our minds that will scream out to be revisited during the long winter evenings – Paul Thomas Anderson’s, The Master. Having been exclusively screened at London’s West End Odeon in 70mm projection before its national release (16th November), the anticipation is mounting with a Cornerhouse experience sure to quench every film-lovers thirst.

Anderson (There will be Blood, Boogie Nights) rallies together an all-star cast, collaborating with the likes of Phillip Seymour Hoffman (Moneyball, The Big Lebowski) for the third occasion, Joaquin Phoenix (Walk the Line, Gladiator) and Amy Adams (The Fighter, Leap Year).

The Master tells a compelling story that will stimulate your every sense and will have you covered in goose bumps. Captured masterfully by Anderson, the narrative hones in on troubled Naval veteran Freddie Quell (Phoenix) as he struggles to reach any level of normality upon his arrival back home from service in WW2. Drifting through life and suffering a series of post-traumatic-stress driven breakdowns, Quell crosses paths with charismatic intellect Lancaster Dodd (Hoffman), forming a bond that ignites the film into life.

Having already swooped to win three awards at the Venice and Hollywood Film Awards, this unique vision is sure to attract further praise and adulation in the coming months. Anderson excels after five years out of the limelight and provides the platform that allows Phoenix and Hoffman to deliver, what may well be considered, their best performances to date. A masterpiece is born.

More Coverage

Eyes Wide Shut 25 years on: A feast for the eyes, a nightmare for the mind

As part of Cultplex’s on-going Movie Church series, fans of Stanley Kubrick’s Eyes Wide Shut celebrate his beautifully nightmare-ish film 25 years on

Mothers’ Instinct review: How far will you go to protect your family?

Academy Award Winners Anne Hathaway and Jessica Chastain have a 1960s face-off in this eerie, twisted game of cat-and-mouse

My formative film: Sprinkles of Stardust can be seen everywhere

How Ian McKellan’s narration, Robert De Niro in drag, and Mark Strong in a matted wig makes Stardust the perfect fantasy film

Jurassic Park: T-Rexcellent or bit of a Dino-snore?

Does Jurassic Park still hold up or would Spielberg have been better off leaving the dinosaurs extinct?