Paul Thomas Anderson is a master filmmaker.
There’s just no other way to say it without making that lame, obvious pun.
His latest work, The Master, follows in the tradition of There Will Be Blood, Magnolia, and Boogie Nights as another ambitious, sprawling film that simultaneously feels epic and intimate, and wholly original.
It’s a captivating film that will establish Anderson as the best American filmmaker working today, and will likely win him all the awards that eluded him four years ago (how Blood lost the Best Picture and Best Director Oscars to No Country for Old Men, I still don’t know).
Simply stated, The Master is the best film I’ve seen so far this year (beating out The Dark Knight Rises by a smidge).
Is that enough hyperbole right off the top? Yeah, I think so too. So let’s move on.
Martin's Musings 