Film Review - The Master

Sometimes a film just speaks to you. You can’t explain it, neither to yourself, nor to others. When you describe it, you’d seen things others didn’t. Sometimes you see complexity, something recognisible, or a mystery you’re intrigued to decipher. But sometimes you sit there staring at the screen, baffled as to how anybody can find this self-indulgent wank interesting.
Welcome, then, to the world of film-maker Paul Thomas Anderson.
His films have a huge following, especially with the likes of film critics, film students and Academy members. “Magnolia”, “There Will Be Blood”, “Punch-Drunk Love”… Of these, only the latter spoke to me, and when it did, it was quite profound. “The Master”, however, is his most incaccessibly wanky yet, and never captured me for a second. Many critics have fallen over themselves for this, and yet many of the same critics have scoured desperately for a reason why. It's as though they didn’t get it, but feel they must have missed something, and seem to be convincing themselves after the fact, rather than getting carried away by the film, or- heaven forbid- admit it confused them. I beg to differ. I can tell you exactly why I loved “Punch-Drunk Love” and can go on endlessly as to why I didn’t love this.
For example, the central lead performance from Joaquin Phoenix is very much that; a performance. The way he spoke, walked, carried himself, smiled, reacted- was all very measured and considered, whether it was small or large. And not for one second did I believe I was watching an actual human being reacting to a situation. I was very much aware that I was watching an actor Act. With a capital “A”. It’s an approach that worked for Daniela Day Lewis, who picked up his second Oscar for Anderson’s “There Will Be Blood”, and I’m pretty sure it’s Joaquin’s turn. But to my tastes, that kind of acting belongs on a stage- preferably a pantomime-, but not in a movie.
That’s just the tip of the iceberg. There is a complete lack of story, interesting characters, realistic interactions or realistic relationships, as well as literally gratuitous nudity (female only, of course). Why anybody would be intrigued by the pseudo-intellectual musings of Phillip Seymour Hoffman’s character is lost on me, and never did I believe any of the characters were searching for answers anyway.
Whereas as “Punch-Drunk Love” was a film I loved, but wouldn’t necessarily recommend to anyone else, why anybody would enjoy “The Master” is a complete mystery to me, and I don't see how or why anybody would recommend it to anyone.

Film Review - Madagascar 3: Europe's Most Wanted

I wasn't a fan of the first film, but couldn't remember why. As a result, I didn't bother with the second film, but have heard enough good things about this one to give it a try. Almost immediately, I was reminded as to what I didn't like about this franchise.
It's all pretty chaotic and nonsensical and goes for cheap laughs for the sake of cheap laughs. Not that there's anything wrong with that per se, it just didn't work for me. I feel no emotional connection to these characters or their plight, but that's fine since it's evident nothing that happens is of any consequence to them, or me. You just carry on without me, I'll stick to Pixar.

Film Review - Rust and Bone

Despite the stellar reviews, director Jacques Audiard's previous film, Un Prophete, did very little for me. Oscar-winner Marion Cotillard has a definite star presence, but she has left me wanting in many of her English-speaking roles. Expectations for this film, then, were low- but I was certainly in no mood to give it an easy ride. As it happens, I was taken on a rather exhilarating ride, and this French-language film turned out to be pretty close to parfait.
Cotillard and Matthias Schoenaerts make for an interesting screen couple. Neither is especially amiable, and the nature of their friendship is somewhat unexpected. He is a stranger who comes to her aid (twice), but he is no knight in shining armour. Their relationship is refreshingly matter-of-fact, and even becomes somewhat businesslike, with the occasional (and increasingly frequent) booty call thrown in to pass the time. Naturally, this complicates matters as emotions and expectations become involved, and the couple are drawn together and pulled apart in equal measure by external forces.
The visual effects involved are massively impressive, as biped Cotillard successfully pulls off a more-than-convincing performance of a double-amputee, all the while managing to stay on the right side of the fine line between depressed and whiny. She never plays the victim, and Schoenaerts never patronises her.
I found it a fascinating watch, and will be surprised if it doesn't make my top 10 films of 2012.