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

Ruby Sparks (2012)

Paul Dano, the blood in “There Will Be Blood,” is a novelist who hit big at 19 and crashed by 29, sidelined by writer’s block, insecurities that befuddle his family, and no girlfriend on the horizon in “Ruby Sparks.” For a guy named “voice of his generation,” Calvin Weir-Fields is a pipsqueak. Then one day, the perfect woman (Zoe Kazan) walks right into his life, and introduces herself as the too-perfectly-named titular character. She’s his dream girl. Literally. He dreamt her up as a writing exercise, and now she’s cooking eggs, screaming happily at zombie flicks, and meeting the family. Smart, hilarious, dark, and able to stand within the long shadow of another cinematic gem, “Eternal Sunshine of the Spotless Mind,” this indy film was written by Ms. Kazan for herself and real-life squeeze Dano, and it’s not just a career play, but a scorching satire on artistic ego, What Men Want, and the stark difference between wishing for a devoted girlfriend and getting exactly that. Kazan, granddaughter of Elia, takes a blowtorch to every boring, submissive rom-com female stereotype with her writing and acting, both radiant. Bravo! A-

The Grey (2012)

Bloody good, “The Grey” pits Liam Neeson against the arctic tundra and a pack of man-eating wolves, their eyes glowing hellfire. This is a Jack London fable, crossed with the grisliest of survival tales and pumped with dark adrenaline and overt symbolism. Neeson is Ottway, a soul-broken sniper for an oil company in northern Alaska who finds redemption and more in the face of death. At the film’s start Ottway attempts suicide. He falters. The next day he’s on an airplane, maybe heading home to quit, we do not know, but the craft goes down, killing dozens, save six men and Ottway. It’s in the wild that our man finds the courage to not die, and to lead his men (including Dermot Mulroney) to safety and life. Nature, the wolves, death, and chance stalk all the way. Neeson – hardcore, of few words -- gives the best performance he’s dealt since “Schindler’s List,” and director Joe Carnahan pulls out of his dumb dive (“A-Team”) to return to real storytelling on film. Stay after the credits for a final shot that will fuel debate in some, and leave others assured of fate and faith. A-