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This was pretty disappointing for me. Despite some effective comedy and good main performances, a lot of scenes dragged and my eyes just glossed over. When the tone was zany, the film was engaging. Whenever it did anything else, I couldn't get into it. My favorite part was easily Doc, his assistant, Martin Short, and the runaway getting pulled over. Really, that whole sequence with Martin Short was fantastic.
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Jan 11, 2015 06:07
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harpomarxist posted:about how a) this is Altman homage when everyone thought PTA had grown out of that Isn't Altman's influence persisting in film a cool thing? That dude was good.
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Feb 8, 2015 02:51
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It just seems like a weird axis to orient artistic success upon. With Anderson especially, it's disingenuous to say he's just doing homage or referencing a great artist when, like few others, he molds these things to work very well in his films. Very early on in The Master, he recreates the look and feel of John Huston's Let There Be Light, which perfectly fits the story he's trying to tell about the American postwar experience. The fact that it's a good creative choice has nothing to do with quoting a great filmmaker; it just happens to fit extremely well with the film he's trying to make.
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Feb 8, 2015 16:54
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