Phantom Thread (2017)
Country: US/GB
Technical: col 130m
Director: Paul Thomas Anderson
Cast: Daniel Day-Lewis, Vicky Krieps, Lesley Manville
Synopsis:
The neatly ordered, serial monogamy of a highly sought-after dressmaker in 1950s London is unexpectedly upset by his latest relationship with a statuesque, determined luxembourgeois waitress.
Review:
This mostly unlikely of subjects for a Californian cineaste provides the swansong (at time of writing) of one of the screen's most quixotic acting talents. Day-Lewis's Reynolds does at least conform to type as a charismatic monomaniac along the lines of There Will Be Blood and The Master, and one is scarce able to take one's eyes off him, but he is given a run for his money in Krieps's passive-aggressive adversary, Alma. This is an intensely acted, minutely realized piece of film-making, ravishing to look at, and its closing gambit is about as bold as what precedes it is predictable.
Country: US/GB
Technical: col 130m
Director: Paul Thomas Anderson
Cast: Daniel Day-Lewis, Vicky Krieps, Lesley Manville
Synopsis:
The neatly ordered, serial monogamy of a highly sought-after dressmaker in 1950s London is unexpectedly upset by his latest relationship with a statuesque, determined luxembourgeois waitress.
Review:
This mostly unlikely of subjects for a Californian cineaste provides the swansong (at time of writing) of one of the screen's most quixotic acting talents. Day-Lewis's Reynolds does at least conform to type as a charismatic monomaniac along the lines of There Will Be Blood and The Master, and one is scarce able to take one's eyes off him, but he is given a run for his money in Krieps's passive-aggressive adversary, Alma. This is an intensely acted, minutely realized piece of film-making, ravishing to look at, and its closing gambit is about as bold as what precedes it is predictable.
Country: US/GB
Technical: col 130m
Director: Paul Thomas Anderson
Cast: Daniel Day-Lewis, Vicky Krieps, Lesley Manville
Synopsis:
The neatly ordered, serial monogamy of a highly sought-after dressmaker in 1950s London is unexpectedly upset by his latest relationship with a statuesque, determined luxembourgeois waitress.
Review:
This mostly unlikely of subjects for a Californian cineaste provides the swansong (at time of writing) of one of the screen's most quixotic acting talents. Day-Lewis's Reynolds does at least conform to type as a charismatic monomaniac along the lines of There Will Be Blood and The Master, and one is scarce able to take one's eyes off him, but he is given a run for his money in Krieps's passive-aggressive adversary, Alma. This is an intensely acted, minutely realized piece of film-making, ravishing to look at, and its closing gambit is about as bold as what precedes it is predictable.