Andrew Boley’s review published on Letterboxd:
So this was my fourth time watching this film. I honestly can't remember a time where four viewings of a movie still left me wanting more. Not often do movies act so perfectly as art. Yet The Master is the definition of art as cinema. Every single shot is beautiful. You could frame any of them and sell them as art. I'm scarred to call this an "art house" movie though. Because I think of art house as foreign movies that meander and revel in ambiguity and sadness. I've realized that The Master isn't as ambiguous as I thought, and makes me emotionally react with more than just sadness.
I've dissected this movie before, with different interpretations on each viewing. I've thought about the three main characters as the Id, Ego and super ego. I've thought about them in terms of "who is, THE MASTER?" I've thought about it as "what does religion mean, what is The Master telling us about faith?" I've thought about "what does it mean to be a drifter, to be worthless?" I've thought about how this fits into our american heritage. There's symbolism, there's subtext beyond subtext, there are questions without answers and characters that are unexplained. But this is art, and art represents life. This movie is about life and all the fucked up and beautiful things that transpire in life. In other words, It's about everything! And so it will never be forgotten. I can revisit it whenever I want and it can mean something different. But above all, it is a call to arms for all film makers. While PTA is questioning things that have rarely been questioned in cinema other film makers are making terrible cash grabs, and derivative genre flicks. Some even aspire to making something "personal." But PTA is doing something that no one is even touching, he is truly pushing cinema as far as it can go, and I don't think he's looking back. Here's to our bravest film maker, the guy that every film maker should look up to and every film maker will forever be in the dust of.