Wild

When the Game Stands Tall

The Fault in Our Stars

The Master

Directed by Paul Thomas Anderson.

2012. Rated R, 143 minutes.

Cast:

Joaquin Phoenix

Philip Seymour Hoffman

Amy Adams

Laura Dern

Ambyr Childers

Jesse Plemons

Rami Malek

Madisen Beaty

Lena Endre

Kevin J. O’Connor

Amy Ferguson

Joshua Close

Patty McCormack

Right away we come to understand that Freddie Quell  (Phoenix) is a tad off. After serving in World War II, reintegrating into normal society has been an issue for him. Our natural inclination to sympathize with veterans is tested because we get the sense he wasn't wrapped too tight even before the war. And he’s overly obsessed with two things: getting drunk and getting laid. He manages the former practically every night; the latter, not at all.

One drunken night, Freddie wanders into the circle of Lancaster Dodd (Hoffman), AKA The Master to his followers. He’s written a book, teaches cryptic lessons and performs strange rituals to enlighten us all. In effect, he’s started his own religion which many would call a cult. From everything I've read, the guy is based on Scientology founder L. Ron Hubbard. Makes sense. Anyhoo, he takes a shine to Freddie and begins “processing,” or indoctrinating him into “The Cause.” We spend the rest of the movie watching The Master try to tame this particularly wild beast.

Charges of fraud and other improprieties against Dodd happen from time to time. We also wonder how much control over The Master his wife Peggy (Adams) has. These things are interesting, but neither holds our attention like the battle of wills waged by The Master and Freddie. Therefore, our enjoyment of this film is derived almost entirely from the dynamics between the two men. The only other thing that really perks us up is the same battle of wills Freddie is fighting with himself. If he simply can’t control himself, how does Dodd ever hope to?

Facilitating our intrigue, we get a pair of wonderful performances from Hoffman and Phoenix. Hoffman is perfectly charismatic as the leader of a budding way of thought, no matter how out there it may be. In an exemplary manner, he pulls off his character’s ability to instantly adapt his explanations to most lines of questioning and knack for shouting down anyone not persuaded by his answers. The work Phoenix turns in is flat amazing. From the start, he fully embodies this raging man-child who is understanding of little more than pleasure and pain. In any year in which Daniel Day-Lewis hadn't convinced people he was actually Abraham Lincoln, Phoenix may very well have walked off with the Oscar that he was nominated for.

Unfortunately, deciphering what we’re supposed to take from this movie is no easy task. As it rolls along, it seems to be peeling back Dodd’s many fraudulent layers, but it never follows through in any tangible way. Most notably, Dodd’s own son is presented as a non-believer, but nothing is ever done with this once we learn it. The young man just keeps going along with the program while wearing a pissed off look on his face. It might also be an examination of Freddie’s sanity, or lack thereof. Much of the film at least hints at that idea, while two scenes in particular intently focus on it. Well, maybe. The first includes a party where many of the followers are happily playing music, clapping and dancing while the very drunk Dodd sings a tune. It so happens that all the women are standing around naked. It’s shown as if this may only be Freddie’s perspective on things. However, it’s also followed by a rather strange moment between Dodd and Peggy that suggests otherwise. Later, the rather lengthy “window to the wall” scene shows that poor sap Freddie cracking up while made to walk repeatedly from one end of a room to the other. Then again, it’s more likely this is just to showcase Dodd trying to break him as he attempts on numerous occasions. It’s also entirely possible that, as the ending suggests, this is all about Freddie’s quest to get a woman into bed and just how intricately tied to his happiness the success of this mission is. Therefore, when The Master ends we may be hit by a wave of confusion as we wonder what we just watched. In this case, that’s a good thing. We have much to talk about.

Whatever it is, Paul Thomas Anderson directs it in a manner that makes it difficult to look away from. The shots are beautiful and, as stated, Hoffman and Phoenix command the screen. Many of their scenes together are scintillating. The director brings this out with excellent story-telling skills. Some people will take issue with the story he’s telling, or more specifically, they’ll wonder what the story is about.

Little Fockers

Directed by Paul Weitz.
2010. Rated PG-13, 98 minutes.
Cast:
Ben Stiller
Robert De Niro
Teri Polo
Owen Wilson
Dustin Hoffman
Barbara Streisand
Jessica Alba
Blythe Danner
Laura Dern
Kevin Hart
Daisy Tahan
Colin Baiocchi
Thomas McCarthy

We all know someone like this. He’s normally a nice guy. You like him, well enough. One day, he tells a hilarious story. It’s literally a knee-slapper, might be the funniest thing you’ve ever heard. This is Meet the Parents. A few months go past and he tells the story again. This time he adds some details he left out the first time, giving it just enough twist to get you cracking up all over again. This is Meet the Fockers. After a few more months, he pulls out that story again. He tries switching it up a bit, but you quickly realize its just the same story and it is no longer funny. To make matters worse it’s now his “go to.” Anytime there’s a break in the conversation he starts up with it. That, my friends, is Little Fockers.

With the passage of time, our tale has a few inevitable wrinkles. Gaylord Focker, AKA Greg (Stiller) and his wife Pam (Polo) now have a set of twins about turn five years old. He’s now head nurse at the hospital. His mom Roz (Streisand) now hosts a talk show where she gives sex advice. His dad Bernie (Hoffman) is feeling neglected and is off in Spain learning to dance the Flamingo. Pam’s mom is feeling much the same way, sort of. She really just wants to get laid more often. That’s the job of Jack (De Niro), self-proclaimed protector of the Byrnes family name.

At first, things seem great with Greg firmly entrenched in the circle of trust. Shortly, Jack suspects Greg as having an affair and we’re back to square one. Jack mercilessly trying to find out the truth while Greg gets bent out of shape ensues. By that, I mean anything involving these two guys consists larely of recycling the jokes of the first two movies. By the way, the person Jack thinks Greg is sleeping with is pharmaceutical rep Andy Garcia played by sometimes “it” girl Jessica Alba. Immediately upon meeting her, we realize she is very purposely named after the male actor of the same name. We figure this out because they run that joke into the ground within about two minutes of her first showing up. Did he sign off on this?

Another recycled element is Kevin (Wilson) and his obsession with Pam. He’s actually planning to marry someone else. When that doesn’t work out, he pops by the Focker household to make Greg all sorts of uncomfortable, especially since Jack is rather fond of Kevin. Finally, we have the actual little Fockers. Despite the movie being named after them, they hardly figure in the proceedings. They are Samantha (Tahan) and Henry (Baiocchi). She refuses to talk to her dad because she’s just like Jack. Henry is basically a prop that constantly sees, hears or says things he shouldn’t.

The time when the movie focuses on something besides the infamous circle of trust, it is at its best. This is not nearly enough. Much more could’ve been done with the marriages of both sets of in-laws, including Jack’s health. More could also have been done with the children and their relationship with their grandparents. Instead, we heaping doses of Jack efforting to catch Greg in a lie, again, along with the prerequisite cheap body and/or sex humor. It’s just more and more of the same thing we’ve already had two helpings of, but it’s less than half as filling as it was before.

MY SCORE: 4/10