The Master
I have been thinking a lot lately about why it is that I write these reviews and also why people, peculiarly, take the time to read them. One obvious answer to the later is that they simply want to know whether or not a film/book/album or episode is good before they both buy and consume it, constricted as all our budgets are (both in terms of time and money). If that is the case for you, the question that you bring to each review, then know that the answer in this case is an unreserved yes; The Master is a masterful film, it is a masterclass in movie making, the work of people who have here all mastered their respective crafts and all those other puns that you would expect to find within the type of a textbook review. Sated you can now shut down this tab and move on with your lives; the rest of you though, those with more complex questions, should follow in further.
Due to the way that word of mouth works in this contemporary era there is a new literary trend of some certain books becoming massively popular, far and beyond the usual constraints of the medium – Twilight and Harry Potter are the first to come to mind – and The Girl With The Dragon Tattoo is one of the latest, though I can’t for the life of me figure out why. Though they took their time getting here, once they did the Millenium trilogy hit big fast despite…well, every single thing about them being exactly what we tend to hate in our media. Steig’s stories were originally written in swedish (hence the delay) and are centered around a virtual anthology of brutal acts of sexualised violence, acts that unfold in the least thrilling and least titillating manner possible; they are then, in other words, the exact antithesis of those escapist teen fantasies with which they share sales figures.
