Newsstand: November 23, 2009
The Making of a Medley
The Daily Photoist: November 23, 2009
Transit City and Transit Cities
Televisualist: A Kinder, Gentler Televisualist
Hello readers! If you were lucky enough to win tickets to the screening of There Will Be Blood last night you will have already made your mind up about the film (well, we hope), but we’re going to subject you to our opinion of it anyway.
Quite good, wasn’t it? Contrary to a lot of things we’ve heard, it did seem to be identifiably a Paul Thomas Anderson film (strong performances, non-traditional story arc, bit overlong/drags in places, interesting score, slightly forced/obvious directing style) but thanks to, yes, an excellent performance from Daniel Day Lewis, it was a good time at the movies. It’s going to be hyped to death in the run up to the Golden Globes/Oscars, so if you have any interest in the story of an “oil man” and didn't get a chance to see it last night, check it out as soon as possible to limit the damage overly-high expectations bring.
Unsurprisingly for the beginning of January there’s very little else out. There’s Francis Ford Coppola’s Youth Without Youth, which we could not be less interested in. The Metro’s Norm Wilner claims “it fails on every level worth considering,” and that’s good enough for us to continue ignoring it. You’d be better off going to see The Godfather when it plays at the Fox this Tuesday.
There’s also One Missed Call, which has that icky poster featuring mouths as eyes and is actually based on a Takashii Miike film. Like most remakes of Japanese horror films, you’re probably better off seeing the original. Or, if you really want something featuring baddies with mouths as eyes, you can read The Sandman trade paperback The Doll’s House.
This Wednesday, Doc Soup is presenting For the Bible Tells Me So at the Bloor Cinema. About the conflict between homosexuality and organized religion, Eye’s Adam Nayman notes it “might well turn out to be an important documentary—even if it’s not a great one.”
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Really really enjoyed There Will Be Blood. The score was incredible as was DDL, didn't know what to expect and was very impressed. Have read reviews calling it the best film ever made and though it is extraordinary I wouldn't go that far, great way to while away 3 hours in a cinema on a cold day though.
I dunno, I found each Paul T Anderson film to be weaker than the last. Hard Eight was pretty awesome, Boogie Nights okay but too long, then Magnolia was nearly unbearable to sit through. It had an overblown sense of self-importance but nothing interesting to say.
What is it with directors like this guy; they make films that might as well have all-caps titles on screen screaming "THIS IS AN IMPORTANT AND MEANINGFUL SCENE. GET IT? GET IT??"
That Paul Haggis movie "Crash" was like that too. It's a bad trend that can't end soon enough.
So, no, I probably won't be lining up to see this.
hmmm I think Punch Drunk Love is probably my favourite PT Anderson film and agree that Magnolia was overblown. You might be right to avoid this one as there are at least two very blatant all caps moments.
Crash I totally agree with - what a load of twaddle, magic hispanic people and all.
Hmm, I don't know if they've got weaker as he's gone on, but I think he's incredibly patchy for someone so full of himself, yeah. Magnolia is just awful.
I really did like There Will Be Blood, though.
I must defend Magnolia and Boogie Nights, two of my favourite movies, at least for that comparison to Crash.
While it's not horrible, Crash is the biggest Magnolia rip-off ever; it's watchable in the latter's "everyone is connected, and here's some interesting things to think about" way, but it totally pales in comparison. If you think P.T. Anderson occasionally hits you over the head with his messages, Crash comes up to you in person, sits you down, and gives you a two-hour lecture about what it thinks.
Anderson's great, because all of his movies get better and better with each re-watching (sometimes, like with There Will Be Blood, they necessitate a second watching, even if it'll test my attention span). There's always more to look at, more to think about, more to mine. Watch Crash once and you've got everything there is to get.
I admire P.T. Anderson's work and don't feel as though he's in the habit of talking down to his audience. Actually, I feel that more than one viewing is required to see where Anderson is taking you. I love the way he paces his films, a don't think that he has a habit of making them a "bit overlong/drags in places". Sophia Coppola's Lost in Translation has also be accused of being too slowly paced, but it gives the picture great depth and is used to evoke the film's mood.
I'm so excited for There Will be Blood, not only for Daniel Day-Lewis' performance, but for the musical stylings of Jonny Greenwood (of Radiohead fame) who scored original music for the film. Fantastic.
It's been awhile since I've seen Anderson's films but I do remember enjoying all that I have seen, especially Magnolia (being the only digestable film with Tom Cruise ever made). The things that stuck out most to me were the jarring close ups. Anyone else notice them? Quite beautiful. I think I loved the film just for those (which were particularly lovely from the third row).
Finally, the score was BRILLIANT. 'Nuff said.