The Master (2012)

In “There will be Blood,” Paul Thomas Anderson told the story of America’s greatest gifts -- capitalism and religious freedom –- gone mad. “The Master” does not rise to such heights, but it never could have. It also follows two men -– again representing one idea -– at odds. Joaquin Phoenix plays Freddie Quells, a World War II vet who is violent, perverted, alcoholic, immature, and a drifter, until he literally stumbles onto the yacht of a man close in age, but light years beyond Freddie’s mental reach. Lancaster Dodd (Philip Seymour Hoffman) is a scientist, writer, philosopher, and cult leader of a trillions-year-old self-help religion known as The Cause. (Scientology? Maybe.) Dodd has a family and scores of admirers. Quells wants it all, to be Dodd, but can’t recognize that impossibility. It is clear that Quell stopped maturing at 13. He’s all awkward male poses and farts, a hormonal teenager. Dodd sees Quell as a pet project, and Quell pings-pongs, loving and loathing Dodd as others point out the man’s fakery. Yet, Dodd is convinced of his own powers. So, who truly is the better man? Like “Blood,” Anderson offers few answers, but provides another riveting, fascinating, and endlessly debatable story. A

No County for Old Men (2007)

“No Country for Old Men” is top-notch, dark-hued Joel and Ethan Coen Whiskey, equal to “Miller’s Crossing” and “Blood Simple.” This thriller turned morality tale burns going down, with pulses of humor so dark, one feels guilty for laughing. It’s also a wild companion piece to “There Will Be Blood.” If that classic is about America’s twisted love of capitalism and religion, this tackles America’s love for killing.

Based on the Cormac McCarthy novel, “Country” follows three men: Llewelyn Moss (Josh Brolin), a Vietnam vet; Ed Tom Bell (Tommy Lee Jones), a Texas sheriff from a family of lawmen; and Anton Chigurh (Javier Bardem), a near-silent killer with a ’70s Hulk hairdo and an obsession with fate. The film is one long chase, the prize being a satchel of money. The genius kick: Author and filmmakers don’t care about the chase or the money. As “Men” churns along, the graphic violence all but slips off screen, and a philosophical tone on morality takes over. Boring? Grow up. Cormac rips story-telling rules. Coens kill movie rules.

Jones gives a career-best performance, including a stellar monologue that refers to the 23rd Psalm, without mentioning God. That’s a McCarthy trademark. Barden is freaking amazing. I could ramble on for hours. I love this film. (The book is amazing.) I love the sound design (the unscrewed light bulb) and lack of music, and Kelly Macdonald’s stoic blast-of-truth housewife. Genius. A+