An epic, symphonic portrait of the founder of a Scientology-like cult (Philip Seymour Hoffman) and his alcoholic, sex-obsessed protégé (Joaquin Phoenix) set in postwar America, Paul Thomas Anderson’s film baffled audiences when it was released in 2012. But it’s now rightly considered a masterpiece – and it hits even harder in 2026, when another cult’s got a vise grip on the country. The Master is, as they say, a rich text, but on a recent watch what struck me most was how eloquently it dramatized how, in order to feel part of something, people – especially the ones who feel broken inside – will believe just about anything. That PTA manages to convey that with a critical eye and compassion both is just one of The Master’s many wonderments. – Kimberley Jones
