Gorgeous, and Empty

Movies: ‘The Master’

For months the buzz on Paul Thomas Anderson’s “The Master” anticipated a movie based on the Church of Scientology and L. Ron Hubbard, its founder, from a master of filmmaking. What emerged, however, is a film that embraces the possibilities of technique and 65-millimeter film stock with wild abandon, bombards us with beautiful scene after scene, stuns with three bravura performances, yet leaves us confused by unresolved storytelling and, ultimately, unmoved.

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