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Last Active 09-06-22 1:37 pm Joined 09-24-05
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| FILM: tectac's Paul Thomas Anderson, Ranked
I remember seeing BOOGIE NIGHTS back in the late-90s and being absolutely blown away that it was on Anderson's sophomoric effort, and he was 27 years old, no less. I knew he'd have a promising career, and it turns out he's easily one of the most compassionate and adept filmmakers working today. List does not include short films or music videos, for obvious reasons. | 9 | | Todd Rundgren Something/Anything?
>> MAGNOLIA (1999)
The one Anderson film I don't love, if only because he seems more concerned with what's happening *behind* the camera and not what's happening in *front* of it. Yes the extended single-take shots are technically impressive, but hogged together among the various storylines of this three-hour beast, they tend to call too much attention to themselves, proving distracting rather than engrossing. (And are any of them built with even a tenth of the gusto in BOOGIE NIGHTS's opening scene?) Sure, we get another handful of great performances from a stacked cast - Cruise, Hoffman, and Moore are my three standouts - but again, the narrative tapestry feels too coerced and mechanical. And then there's the Third Act "miracle," (trying not to spoil anything) and all I can do is roll my eyes. It's almost crazy enough to work...but not as a punctuation for this jumbled ball of yarn. The self-reflexive chorus of "Wise Up" is a much better distillation of themes via quasi-surrealism. | 8 | | Three Dog Night Three Dog Night
>> LICORICE PIZZA (2021)
Either too plotless or not plotless enough (or worse - both). People pearl clutching over the age gap, writing it off as an unnecessary inclusion by Anderson, have missed the point completely. (Side note: Have these kids never seen MANHATTAN?) Alana and Gary's relationship ceases to exist without the age gap. It's what drives them toward one another, each seeking a sense of validation from the other, however misguided. Gary thinks a relationship with Alana will validate him as the adult he so clearly yearns to be; Alana, on the other hand, is afraid of maturing, afraid of growing up, afraid of the responsibilities therein, and uses Gary as a self-imposed clutch to maintain some semblance of youth. Nostalgic and idyllic? Nah, they're all wrong for either other, and their entire "relationship" is toxic, built upon manipulation and arm's-length mind game - which is precisely why the starry-eyed conclusion feels somewhat like ruinous betrayal. | 7 | | David Bowie Station to Station
>> HARD EIGHT (1996)
No surprise that Anderson's first film is his most straightforward and superficially simplistic, but it nevertheless makes for an interesting and thoroughly engrossing procedural. The pared-down style allows the actors to shine, and there's an unspeakable intimacy to the interactions between the film's four main characters that would admittedly be difficult to replicate beneath a ton of ornate decoration. There are still a few little flourishes that would hint at the bravura Anderson would exhibit later in his career - demeaning close-ups and a few long, tracking shots - but this is a film that thrives in its performances and the complexity of the relationships that develop. Phillip Baker Hall is the star of the show here, but honestly everyone - Paltrow, Jackson, Reilly - is a solid contributor. Even Phillip Seymour Hoffamn's cameo is insanely memorable. Clever ending, too, and one that resonates strongly precisely because of the film's measured restraint. | 6 | | Dick Dale Tribal Thunder
>> PUNCH-DRUNK LOVE (2002)
Another film that I think many people were disappointed with because they went into it with narrow-minded expectations of what they *thought* it would be, mostly predicated on the actor in the lead role. Put Adam Sandler in your film and people are bound to garner preconceived notions about it before they even walk into the theater. I can only imagine someone waltzing into this high off of BIG DADDY and LITTLE NICKY, only to be met with crushing disappointment at the art-house portrait tossed in front of them. But what Anderson does here with Sandler is not merely subversive but borderline genius, as his typecast persona of goofy/zany comic lends a layer of meta-textual commentary, showing that even the most outwardly "happy" people can often be introverted and mangled by self-doubt. A wonderful display about coping and living with anxiety, and finding happiness in spite of it. | 5 | | Brand New Daisy
>> INHERENT VICE (2014)
Anderson's most misunderstood film, largely due to many people being oblivious to Pynchon's writing and how narratively piecemeal it is. Given the fragmented tone of the novel, Anderson actually does it proper justice, constructing it as a stoner's waking daydream, almost like a retrograde version of BIG LEBOWSKI with an unforgettable break-up as the centripetal force rather than a stolen rug. People going into this expecting any sort of legitimate criminal procedural are sure to have a bad time, especially given its purposely hazy and broken-apart structure. It's a film that plays in ephemeral blips and apertures, relying on tone and melody more than pragmatism, and it's far more emotional (and funny) than anyone gives it credit for. | 4 | | Eric Burdon 'Til Your River Runs Dry
>> BOOGIE NIGHTS (1997)
Yes, the camerawork is a bit ostentatious when compared to Anderson's later, more subtle work, but my god, with a talent like this, who has time to grumble about (mostly) empty showmanship? Wears its influences on its sleeve - Scorsese and Altman (and even a bit of early-Tarantino) being the most prominent - but transforms them into something wholly unique, a vibrant evocation of a bygone era with characters as rich as they are greasy, as palpable as they are interesting. Lots of people mistook this for a sleazy skin flick, with the irony being that one of its main theses is the desensitization and strictly-business aspect of sex, turning it into nothing more than a glorified transaction. I still get chills from that opening long-take; the choreography is stunning, and I remain in awe that it was the work of someone only in their late-20s. | 3 | | Emperor In the Nightside Eclipse
>> PHANTOM THREAD (2017)
I have an inexplicable weakness for sagely incorporated final-reel revelations that reverberate backward and essentially recontextualize the entire film, even more so for those that aren't build solely on narrative trickery. My first viewing of this compared to my second, once I was aware of the ending, were like two completely different films. The dynamic of Reynolds and Alma is (and should be) read from a drastically different vantage point on any non-cardinal viewing: Most interesting, to me, is the reversal of power, the dramatic flip-flop between "submissive" and "dominant," and the willingness of each party to effectively role-play to appease the other. It's brilliant in the way it codes a kinky, S&M-driven relationship as a stuffy, prim and proper courtship on the surface. Possibly my favorite Greenwood score - as elegant as it is haunting - and while Day-Lewis is assuredly fantastic, Vicky Krieps is equally superb. A fantastic film. | 2 | | My Bloody Valentine m b v
>> THERE WILL BE BLOOD (2007)
Begs to be analyzed under the guise of a battle between religion and capitalism - and I'm not denying that that's a perfectly understandable (and existent) interpretation - but over the years, I find that I prefer to forego the political readings and inhale this purely as a (fictional) biopic about perfectionism, greed, the quest for power, wealth, and how those things intersect with various riffs on human nature, separating the admirable and the dirty, the bloodthirsty and the weak. As with nearly all of Anderson's pictures, the cinematography is exquisite, the pacing is perfectly measured and foreboding, and the camera is always in precisely the correct location (favorite shot after the rig explosion: Daniel's face obfuscated entirely by oil, blending into the night, while his partner beams with a clean expression). Day-Lewis gives one of the greatest hammed-up performances of the decade and Greenwood's score imbues a tone of impending doom. | 1 | | Metallica Master of Puppets
>> THE MASTER (2012)
I've written way too much about this film and all of the possible ways it can be read (if you're curious for more in-depth analyses, let me know and I can provide), so I'll try to keep this blurb simple: It's a character study about many of us are raised believing we need to be in service to someone or something else, that there has to be some greater entity or purpose or "master" in our life, and, more importantly, in our search for something to worship or follow or praise, we come to the sobering realization that we are capable of being our own "masters," so to speak. There are several other theories and side-plots I've harvested this, ranging from the deconstruction of the nuclear family to the homoerotic undertones between Freddie and Lancaster, but I'll save those for now. Subtext(s) aside, the surface pleasures are numerous, ranging from Anderson's unctuous photography to two phenomenal actors at the top of their respective games. A modern masterwork. | |
tectactoe
08.12.19 | Let's chat, cineastes. | Sharkattack
08.12.19 | Great ranking 1 and 2 are possibly interchangeable for me. Some of the best films ever made. | guitarded_chuck
08.12.19 | boogie nights 1 there will be blood 2 for me
i was quite disappointed in phantom thread but will give it another try at some point | tectactoe
08.12.19 | Understandable, though I definitely would recommend seeing it twice before writing it off for good. There are a ton of little subtleties to pick up on once you're aware of the *actual* dynamic of Reynolds & Alma's relationship, tiny cues and lines and stuff. I still wonder to this day if he was *aware* of what was happening the first time with the mushrooms. Maybe he'd been in on it since the start. | Rowhaus
08.12.19 | TWBB, BN, and PDL were all great. I was really bored by PT and I haven't seen the rest. This guy seems to know his stuff tho so I'll definitely be checking them out eventually. | tectactoe
08.12.19 | Yeah PTA is a modern-day master. INHERENT VICE seems to be his most divisive film thus far. Most people like MAGNOLIA, so I'm an outlier there. And THE MASTER has very ardent fans (such as myself) and a solid handful of people who are merely so-so on it, but it's easily worth seeing for the photography and performances alone. Phoenix and Hoffman absolutely dominate the screen. | tectactoe
08.12.19 | (And also if you can find HARD EIGHT, it’s definitely worth your time. Just don’t expect the operatic aesthetic of his later work. But the intimacy is a nice change of pace.) | Rik VII
08.12.19 | Not an expert on his stuff. A lot of these are still on my list . . . He makes a kind of film that I'm not often in the mood to watch (lengthiness and all), but everything I watched was brilliant. Couldn't even decide for the best one, but it would probably be a tie between TWBB and Master, leaning towards the former, but it's been a long time. Don't really love them - they feel a tad impersonal -, but both are masterful either way. I certainly wouldn't argue with anyone claiming he's the most capable filmmaker alive (although I wouldn't agree either). | ramon.
08.13.19 | ...this looks correct from top to bottom | fogza
08.13.19 | The Master is very well made, but I kept checking my watch for it to be over. TWBB gripped me from start to finish. | fogza
08.13.19 | "People going into this expecting any sort of legitimate criminal procedural are sure to have a bad time". This is true. | Larkinhill
08.13.19 | One of my favorite directors. Boogie Nights will always be number 1 to me. Shocked by how low you have Magnolia. Mine goes:
Boogie Nights
TWBB
Magnolia
The Master
Punch Drunk Love
Phantom Thread
Inherent Vice
Hard Eight
But I mean, even Hard Eight is great. I once literally all of his movies.
| fogza
08.13.19 | IV was dull, convoluted and not funny. I kind of wish people would stop making detective stories in which the detective aspect isn't important. | fogza
08.13.19 | In fact the Nice Guys was a better movie. | Larkinhill
08.13.19 | The Nice Guys is awesome. Fairly equal to IV quality wise for me. | fogza
08.13.19 | I never thought Shane Black had it in him to make a movie that I enjoyed unreservedly. | tectactoe
08.13.19 | THE NICE GUYS is more purely comedy, imo, whereas INHERENT VICE is also a much more mood-and-memory driven film, equally as atmospheric as it is comedic. | fogza
08.13.19 | "whereas INHERENT VICE is also a much more mood-and-memory driven film, equally as atmospheric"
I'd argue that TNG is a comedy, but it's also a very successful detective movie. The plot is engaging. There are slight parallel themes of redemption running through it which don't distract you from the movie.
I'm not sure what IV is trying to be. Is it a romance? Is it noir? Is it a black comedy? Is it a commentary on the end of an era? I don't think it really succeeds at anything.
It is DEFINITELY too long. I can't believe it's longer than LA Confidential, look at what that movie achieves with the run time. | Sinternet
08.13.19 | site doesn't need boring film nerds. honestly worse than tool fans with how tryhard they are | fogza
08.13.19 | "site doesn't need boring film nerds. honestly worse than tool fans with how tryhard they are"
I gotta give you points for expansive trolling lol | BigBlob
08.13.19 | 8 is 1. 1 is 8.
also what sinternet said | tectactoe
08.13.19 | Don't spread unwarranted hate because you have retched taste in films, Sin. Come back and chat with us when you've made it past the Marvel series! | tectactoe
08.13.19 | MAGNOLIA is too overblown but I can see why a lot of people would rank it as PTA's top. THE MASTER in last I cannot stand for, though. | BigBlob
08.13.19 | the master was boring though. seems people want to rate it just prove to other people they have superior knowledge on the art of film. | fogza
08.13.19 | Tec, BB is also a troll. He rated Gold Cobra as superb. | BigBlob
08.13.19 | I also gave Violator the same rating you did. are you a troll too then? | fogza
08.13.19 | I do live under a bridge. | BigBlob
08.13.19 | that doesn't mean you are a troll though. could be a homeless drug addict | fogza
08.13.19 | Wannabee film nerd, homeless drug addict, troll... many faceted. | tectactoe
08.13.19 | It's all in jest. (My comments, anyway.) I can assure you I at least attempt to justify all of my rankings and ratings with some form of critique and/or analysis. I have a miniature write-up on a few of the reasons I love THE MASTER so much in some other thread on this site, maybe my Best of the Century list. (Not trying to imply someone is wrong for disliking it, merely trying to point out that my film thoughts aren't fruitless.) | fogza
08.13.19 | To be fair to BB, it's also not one of my favourite PTA's. | fogza
08.13.19 | These lists are good though, makes me want to make more effort with my lazy film viewing choices. | tectactoe
08.13.19 | Any specific Director requests? If I'm close to having finished their filmography (or already happen to have it finished), I'll watch whatever's left and throw up my ranking and thoughts. Going to does Krzysztof Kieslowkski next at the request of Rik, though I assume that one won't gain too much traction on here (per Sin: he is a very 'try hard boring film nerd' type of director, but he's one of my favorites). | Rik VII
08.13.19 | Try hard?? Kieslowski is one of those who master with ease where others try hard. Pretty excited for that list tbh, will probably determine which gaps I'll close first :} | fogza
08.13.19 | I don't think I've ever knowingly completed watching a director filmography, so suggestions would be fairly generic from me. It's just good because it puts stuff in my mind to check out, like Bong Joon-ho from Rik's comments. I'd be interested in seeing your take on Herzog and Michael Mann though, mainly because I've always been curious about checking out Herzog's filmography, and Mann because I know most of his films. | Clumseee
08.13.19 | The Master > Phantom Thread > There Will Be Blood > Punch Drunk Love > Magnolia > Inherent Vice > Boogie Nights > Hard Eight | tectactoe
08.13.19 | (@Rik, I was just poking at Sin's earlier comment, you know I love me some KK.)
I'm actually missing a ton of Herzog films. I've seen a lot, but that dude has a huge filmography and many of his lesser known films are impossible to find. I keep trying, though, and the Criterion Channel just released a handful for streaming this month. I've seen most of his acclaimed and second-tier work (in terms of popularity) with a few really deep cuts. Still searching for a ton of 'em, though. | tectactoe
08.13.19 | Also @Clumseee I could fuck with that list. Boogie Nights a little too low but that's a very respectable take. | fogza
08.13.19 | Yeah Criterion isn't available here, I suppose I could test with a VPN. | Clumseee
08.13.19 | Yee I have Boogie Nights exceptionally low but it just never hit me like the rest of his material. The top 4 are nearly interchangeable for me. Punch Drunk Love gets better with age. A breezy ninety minutes. | Rik VII
08.13.19 | "(@Rik, I was just poking at Sin's earlier comment, you know I love me some KK.)"
Yeah I know, that's why I'll likely trust your judgement on those I haven't seen yet
I'd suggest Lee Chang-dong (I believe you had Burning on your century list?), but I doubt many people here know him, let alone care about his stuff. Refn would be interesting, considering how many divisive films he's made. | Sinternet
08.13.19 | imagine thinking i'm a marvel fan | guitarded_chuck
08.13.19 | #woke | tectactoe
08.13.19 | 'imagine thinking i'm a marvel fan'
*tips fedora* | Clumseee
08.13.19 | Endgame was pretty fun, but no MCU film (or comic book movie?) will ever be as good as Raimi's Spiderman 2.
Edit—not trying to derail just sayin' fax. PTA is probably my favourite working director today, what an incredible filmography. | tectactoe
08.13.19 | Close, "superhero" cinema peaked with Raimi's first Spider-Man imo. I'm not a big comic book fan in general, so it always pleases me how much of that film is dedicated to Peter balancing his superhero duties with his budding crush on Mary Jane and ultra mundane teenage life. The more "superhero-y" they get, the more I rescind. | Clumseee
08.13.19 | Same. Those films have such a true human quality to them. The action, comedy, romance, and Raimi's style mesh so well it makes the MCU (for the most part) feel so damn bland in comparison. | fogza
08.13.19 | The winter soldier is awesome. Sorry I had to say it. | Clumseee
08.13.19 | It definitely does what it sets out to do well. | Rik VII
08.13.19 | I disagree with both sentiments. But oh well. | tectactoe
08.13.19 | Checked my list and apparently I've only seen four movies from what's considered the currently ongoing "Marvel Cinematic Universe," those being IRON MAN, IRON MAN 2, THE HULK (w/ Ed Norton lol), and SPIDER-MAN: HOMECOMING.
Saw the Iron Man movies and The Hulk in theaters, back when I was still willing to give superhero/Marvel films a chance, and only watched Homecoming because of my affinity for the Raimi Spider-Man, thinking maybe I'd still enjoy it (same superhero and all) but meh. The thought of plowing through 20+ films seems daunting, especially given my unfavorable reaction to the few I've seen, and my general ambivalence toward this type of action film anyway. | fogza
08.13.19 | I think the best superhero movie is probably Xmen 2 (don't really count the Nolan movies as superhero films). Liked Captain America 2 and 3 in the straight up MCU thing. | Clumseee
08.13.19 | Xmen 2 is really great, good call fogza.
Anyone else not obsessed with the Nolan films? I've always felt they take themselves way too seriously and have such a drab tone and colour palette. | fogza
08.13.19 | Nolan Batman films all usually have a big flaw, but they're ambitious. | fogza
08.13.19 | And personally, I think they look great, my issue is usually something else. | tectactoe
08.13.19 | Given my lukewarm reception to both Nolan's overall approach to filmmaking and superhero films in general, the combination of the two is ultra-meh for me. I'd put THE DARK KNIGHT up there with some of the most overrated/over-praised films of all time. I actually prefer BATMAN BEGINS because, again, "Batman" isn't even present until the halfway mark, and the origin portion of Wayne's home life is just so much more appealing to me. THE DARK KNIGHT is merely fine, not great, and certainly not one of the best movies ever. RISES is a goddamn mess.
Then again I think MEMENTO is the only truly "Great" film Nolan has made, so my opinion should be taken with a double-sized grain of salt re his Batman films. | fogza
08.13.19 | I think Nolan's best movie is a tie between Inception and Dunkirk. | fogza
08.13.19 | Agree that BB hangs together better than DK, but I think Rise does too. Heath was incredible in DK though. | Larkinhill
08.13.19 | The Dark Knight and Inception for best Nolan films. Insomnia and The Prestige are underrated gems. | Rik VII
08.13.19 | Dark Knight, Inception and Prestige are all great - don't mind Nolan at all, he's a good blockbuster director, for what it's worth. Agreed about the general tone being bland though. That's definitely a problem. It's one of the reasons why I never feel like returning to any of his films anymore. Might as well dislike them all by now, who knows. I haven't seen any of them for years. Well, except for Dunkirk when it came out, but I found that one rather tame and empty.
Wouldn't ever place him anywhere near that cringy, trite Marvel stuff. | Clumseee
08.13.19 | Ayyy tecktactoe I think you're my alt account.
Memento is really great. Agreed with Prestige and Insomnia being underrated. He's definitely a technically proficient filmmaker but I just think a lot of his films are cold and sterile. I've always considered Villaneuve a better Nolan. His films just seem to strike an emotional chord with me that Nolan has yet to do. | Rik VII
08.13.19 | They are definitely comparable in many ways. Haven't seen much Villeneuve though. By the time he became popular, I had already moved on to foreign-language art house stuff and therefore didn't care to check much of it.
Genuinely interested in Dune though. Space opera is a genre that has much potential and hasn't been done well nearly often enough. Would love to see a film like that turn out great. | tectactoe
08.14.19 | Nolan makes very competent film but tries to make “smart” movies while still maintaining a wide audience. This isn’t a problem per se, but it does force him to sacrifice ambiguity and/or rely on belabored exposition where a more confident (and less financially-backed) filmmaker would let the audience do some legwork on their own. FWIW, I don’t think he’s bad by any means, but as far as truly amazing films go, MEMENTO is the only one that comes close for me. No coincidence it was before he was a household name with minimal budgeting and no established audience to appease. :-/
Villeneuve is almost the same for me, except his gimmick is that he tries to rely too hard on twisty, mind-blowing narrative reveals to “wow” the audience. Couple that with his general cynicism and you get something like INCENDIES: Competent, but so narratively bungled that it becomes mechanical, and the whole affair is void of any emotion. He seems to be getting away form the trickery, but something about his dour approach always undermines the bigger themes in his films. ARRIVAL is great, but it could’ve been excellent in the hands of a more compassionate director imo.
I will say, though, just like Nolan, Villeneuve has one film that I consider a near-masterwork: ENEMY. The one instance where his grim sensibilities align with the tone of the narrative, in which he wisely incorporates a “twist” without ever giving the audience too much information. It’s a brilliant film but strangely enough, it’s unanimously his lowest rated. | Larkinhill
08.14.19 | Villeneuve > Nolan. Both great though. | Larkinhill
08.14.19 | Enemy may be my favorite film of his as well. But I think Incendies is amazing too. | fogza
08.14.19 | Villeneuve is very capable of creating distinctive visuals. Other than that, his movies don't connect for me. Enemy is the most interesting of his I've seen. | ramon.
08.14.19 | watching villeneuve is like watching paint dry but the dude who put the paint on the wall has told you how its the most expensive fucking paint on the planet the pigments were sourced from the underside of polynesian nuns who crush grapes and figs for esoteric potions with their ass cheeks
sicario had some cool gun in it tho | fogza
08.14.19 | Dunkirk is a pretty amazing movie. I'm really surprised it doesn't get more love. | tectactoe
08.14.19 | It was a neat experience in IMAX (the only time I've seen it thus far), but Nolan seemed too preoccupied with the convergence/weaving of the three various timelines that he ended up undercutting potentially heavy-hitting narrative revelations to keep up the gimmick. (I forget exactly since it's been two years now, but I distinctly remember being upset that one of the character's fates could've been left ambiguous for a longer amount of time but was essentially spoiled by one of the other timelines which was happening in the future...I'll have to check my notes to see exactly what the issue was.)
I have a feeling watching it at home, with a much less "engulfing" atmosphere, would severely diminish the film's overall effect. | fogza
08.14.19 | I saw it at home, and I still found it riveting. I think I was more focused on it as a meditation on pressure and ratcheting, debilitating fear even when things seem calm. I didn't think I'd enjoy it as I could see from the trailer it would more just be an examination of a state of mind rather than a character or plot driven film, but I loved it. | BigPleb
08.14.19 | Magnolia at the bottom, damn. | Rik VII
08.14.19 | One of the few emotional reactions to Dunkirk I recall is being bored by the whole arc on the boat, especially because of the dull characters (and that is a part of the movie that is *very* character-driven, since they mostly sit around and talk). That said, I believe the part on the military ship was pretty amazing. Very urgent and impressively done. That aside, it's most certainly my least favorite Nolan. But like I said, I don't think all of my opinions on his works would ring true if I revisited them all, so who knows. | fogza
08.14.19 | Interesting. For me his worst was Interstellar. | Rik VII
08.14.19 | That one's certainly not one of his best. It has its amount of bland characters (Dr. Mann) and ridiculous moments ("... 23 years"), but I found it much more memorable and atmospheric. Might have something to do with a certain fondness for space stuff that I can't deny. Although I only saw it once, when it came out. I always shied away from returning to it in fear of being bored to death by it - it definitely struggles to justify its length.
Gotta keep in mind that most things I have to say about Nolan are basically opinions I had 5 years ago or so, so not really worth much. My taste/perception of movies definitely changed since then. | fogza
08.14.19 | Good points about Interstellar - Some nice visuals and interesting robot design
Bad points about Interstellar - Everything else
Yeah Rik, I forgot how long it was... damn I can't believe I sat through it. | tectactoe
08.14.19 | Interstellar > Inception, though I realize most people probably don't feel this way. | Larkinhill
08.14.19 | Inception > Interstellar, but Interstellar is still a great film. Was even better on second viewing. I’m always surprised by how many people seem to dislike it. | robertsona
08.14.19 | Not a fan of Nolan or villeneuve, or even really Anderson these days
I have a feeling this won’t get a good reception but it’s interesting to hear from a smart detractor, even if I’m not sure I agree with his precepts about what constitutes acceptable mystery etc http://sallitt-archive.blogspot.com/2008/01/i-am-not-convinced-that-p-t-anderson-is.html | robertsona
08.14.19 | All this said TWBB was like the first Movie except maybe spirited away that blew my mind and changed my life so lol | tectactoe
08.14.19 | Ah, I love Dan Sallitt. Brilliant film critic, very intelligent. However, his taste is very, very, *very* auteurist based, and when he falls in love with a specific director and/or his/her style, he tends to give their films a bit more empathy. Vice versa, if he doesn't like a specific director (for whatever the reason[s] may be), it will take a LOT for him to even cut some additional slack.
He tends to favor a lot of mumble-core (e.g. Joe Swanberg is one of his favorite contemporary directors) and/or lower-budget films that are more based in character interactions and grounded realism. Or anything that presents a more abstract, less-direct narrative or "goal." It seems like he puts more stock into screenplay than, say, photography, which is a huge part of the allure of PTA films.
There's nothing wrong with this, of course, it just should be noted that Dan's taste is very esoteric, and especially over the last couple decades, his favorite film lists are comprised of a lot of independent, foreign, small-scale pictures, or those with a heavy auteur artifice that he jives with -- again, Swanberg, and some of his other favorites: Catherine Breillat, Hong Sang-soo, Joanna Arnow, Carlos Reygadas, Kazik Radwanski, The Dardennes, Hal Hartley, Ted Fendt, Jacques Doillon, etc.
For older/"classic" (retired) directors he loves Eric Rohmer, Howard Hawks, Buster Keaton, Hitchcock, Frank Borzage, Fassbinder, Hal Ashby, Maurice Pialat, Bresson, Mikio Naruse, Max Ophuls, John Ford, etc. - that is to say, directors who all have a very specific style and, in most casts, full control over all aspects of their films. | tectactoe
08.14.19 | (In short, Dan would rather a film give him characters to identify or empathize with, or something to ponder and think about when it's over instead of trying to "wow" him with photography and framing and technical aspects. If the film *also* has those elements, then even better. Nothing wrong with that.) | robertsona
08.14.19 | YeH I’m a big dan follower lol, we’re good friends/have met a bunch of times and I disagree with him a lot, even on the whole bazinian realism thing but he’s very big for me. Agreed that he’s such an auteurist that he digs his feet in for sure but I still post him whenever I get the chance lol. I’ll talk more about pt Anderson when I’m off work | tectactoe
08.14.19 | Awesome, haha I'd love to meet with Dan just to be able to pick his brain for a day. And you're right, as often as I disagree with him, he always justifies his tastes enough to make me question why *I* like or dislike something.
It seems like I either agree with him 100%, or am completely diametrically opposed, which is actually kind of exciting when I decide to watch a film per his recommendation, as I'll either LOVE it or HATE it. (E.g. recently fell in love with BOB & CAROL & TED & ALICE based on his high acclaim.) | Clumseee
08.14.19 | I used to be pretty confident that PTA is my favourite working director, but I honestly prefer both Moonlight and Beale Street over anything PTA's ever done. Both films are never far from my thoughts, I can't wait for what Jenkins does next.
(NOTE: I tried watching Medicine for Melancholy but wasn't feeling it) | tectactoe
08.15.19 | Wouldn't say PTA is my favorite working director, but I'm sure he'd be somewhat close to the top if I made a list. He's definitely one of the most talented, and imo has an extremely well-rounded and nearly flawless filmography. (That is, it's pretty hard to argue that he's made one "bad" film, even if you're not personally fond of them.)
As far as some that I'd possibly rank above PTA... My personal favorite is Tsai Ming-liang, and others would include: Hal Hartley (hey technically he's still active), Wes Anderson, Hou Hsiao-hsien, Andrew Bujalski, Julia Loktev, The Coen Brothers, Guy Maddin, Kelly Reichardt, Leos Carax, Terence Davis, Noah Baumbach, Errol Morris, just to name a few. Though give the right time/mood, I could rank PTA above some of them. Other directors I love who only have 2 or 3 features and thus too small a sample size to deem truly worthy of "best ever" accolades, but are potential: Vincent Gallo (likely we'll never see another film of his, though), Julia Loktev, Shane Carruth, Maren Ade, S. Craig Zahler, Jonathan Glazer. | Winesburgohio
08.15.19 | i don't have anything smart to say i just really liked Hard Eight - like, a surprising amount - and Inherent Vice does amazing justice to the source material and makes a weird amount of narrative sense if you've had a cheeky kief cone beforehand - it almost transforms it into a Don Quixote-esque slow-burner where a kind of demented logic underpins the whole thing, just slightly away from your grasp but not too far away that you can't __dig it__ | robertsona
08.15.19 | you have good taste tectec, respect | Sinternet
08.15.19 | NERDS | tectactoe
08.15.19 | says the feller with apparently no interest in the topic he keeps dropping in on.
thonk
(thanks rob)
and yes, i agree Wines. Pynchon is probably one of the hardest novelists to adapt to film and PTA definitely did it justice. i think a lot of people turned off by the film didn’t even realize it was adapted nor understand the kind of writer Pynchon is (especially *that* book). | Winesburgohio
08.15.19 | interestingly Gravity's Rainbow has *kind of* been adapted for film twice that i know of and probably more: Prufstand VII and Impolex. neither are wholly successful (it's weighty source material) but if you're a Pynchon fan and looking at analysing whether an interdisciplinary approach to him is possible both should prove worth your time. | ramon.
08.15.19 | how much of my life do i need to sacrifice to be able to converse on such a level | tectactoe
08.15.19 | @Wines, haven't seen Prufstand VII -- I will seek it out. Hated Impolex, though, but I'm not a huge Alex Ross Perry fan to begin with, and his treatment of the material was mostly a chore to sit through.
@ramon: way, waaaay too much. | MarsKid
08.15.19 | I've always loved Punch-Drunk Love and sincerely wish Sandler would do more dramatic roles. Much like Jim Carey, I feel like he's better at more serious things than at comedy. | tectactoe
08.15.19 | For sure. That's definitely my favorite Sandler role (nothing else comes remotely close, honestly), and his against-typecast performance adds an extra layer of intensity to the part imo. Almost like Henry Fonda's villain in ONCE UPON A TIME IN THE WEST, back when he was Hollywood's most morally correct "good guy." | Rik VII
08.15.19 | "My personal favorite is Tsai Ming-liang"
That's kinda unexptected. If I found What Time average and absolutely hated Wayward Cloud, is there anything I should check or is it a hopeless case already? | tectactoe
08.15.19 | I feel like the best way to approach Tsai is chronologically, his films kind of share a common theme and develop a sense of inter-connectivity, so when I first saw THE WAYWARD CLOUD, it was almost bracing to see his usual themes and motifs applied in a hyper-sexual context. I could totally understand someone watching that as a standalone and hating it.
WHAT TIME IS IT THERE is probably my second favorite, though I have a strange weakness for films that have people handling and coping with grief in unusual ways, plus the backstory of the film with Tsai's own father makes it more potent.
But again, if you're not big on Tsai's general approach to filmmaking, there's probably nothing that's going to completely about-face you, as his style is very fluent throughout basically all of his filmography.
I would, at the very least, recommend THE RIVER before giving up completely. It's my favorite of his, one of my favorite films of all time, and imo the best assimilation of his pet themes, techniques, and sentiments in one, neat little package. I actually wrote a lengthy piece on THE RIVER which includes a bit of in-depth discussion on his style in general. If you decide to watch it, my write-up is here:
https://letterboxd.com/tectactoe/film/the-river-1997/
Aside from that, I also feel inclined to recommend VIVE L'AMOUR, because that seems to be a fan favorite. (Even though I'd personally put it in the bottom-half of his filmography, I still love it, and it's almost always the one Tsai film that even Tsai-dissenters tend to enjoy.)
Good luck, and I hope at least one of those films does *something* for ya, though I understand that his methods can be polarizing. He's a very "love him or hate him" director, for sure. | tectactoe
08.15.19 | And, if you're up for some differentiating opinions on the one's you've watched already:
https://letterboxd.com/tectactoe/film/the-wayward-cloud/
https://letterboxd.com/tectactoe/film/what-time-is-it-there/
:o) | fogza
08.15.19 | Interesting, I actually saw that one, and your explanation helped me get the love = water thing. Still wasn't my cup of tea really. | Rik VII
08.15.19 | Okay, River is on my list now. It's not like I am opposed of films without story/without much happening, at least not if the atmosphere, subtext, character depth, things like that are convincing enough to fill the run-time, which I didn't find to be the case yet. What Time had some good images and the grieving family was indeed its strong point. I couldn't help but find it kinda stale in retrospect and don't remember too much of it. Wayward Cloud, yeah, that one was just silly. But most of the times, I try to watch 4 films by a director before I write him off, so River and Vive l'Amour might be those 2. Thanks! | fogza
08.15.19 | I notice from your ratings you enjoyed Michael Clayton, which I enjoyed thoroughly. Can you think of any films with a similar vibe? | tectactoe
08.15.19 | Hm, hard to say. One of the things I love about MICHAEL CLAYTON is how it narrowly sidesteps a lot of the rote shit from most Prestige Dramas, even though it seems very much like a typical Prestige Drama on the surface. The fact that the film doesn't swerve into some moral didacticism about the corruption of the law, or how Michael's tattered home life is because of his obsession with gambling, or his job, etc., is something of a miracle, and Gilroy has a wonderful eye for mise en scene here. The final, lingering shot in the taxi cab is probably one of my favorite closing scenes in recent memory, the way it doesn't end on some silly quote, rather it feels like "just another day" in the life of Michael Clayton is superb. A lot of this strength comes from the screenplay, so if I were to recommend something "similar," it'd be something with a very strong screenplay, in which case I feel compelled to suggest anything written by David Mamet. The vibes of all of his films aren't the same - they range from drama to comedy - but I'd start with Glengarry Glen Ross, House of Games, and State and Main.
Though don't go in fully expecting Michael Clayton - that film is underhandedly unique, and that's why it's so great! :) | fogza
08.15.19 | Yeah, I think we differ quite a bit on what we look for in a film, but when I saw you liked that I was all "it must be a great movie" if it can bridge the divide :) | tectactoe
08.16.19 | Definitely surprised me with how quietly subversive it was. I was worried my low expectations may have inflated my opinion of it, but I watched it again not too long ago (within the last year or so, I believe) and felt the same. One of my favorite Clooney roles, too, without a doubt. | bigguytoo9
10.09.19 | All I need to say is: Paint Thinner Hi-Balls. | tectactoe
10.09.19 | At one point he uses fuel from some kind of plane or bomb or whatever-the-fuck, too, lol. | Winesburgohio
10.14.19 | sorry to bombard your lists with tedious anecdotes but: i went to see The Master on my own, got my times wrong and went for a drink afterwards to console myself: ended up in a BDSM-themed night of a particular bar and stuck around to write an article, when consent was given from those involved in the scene. Seeing The Master the next day, with those memories fresh in my mind, was perhaps a crucial element in why I consider it one of my movies of the century, because I was primed to scrutanize power dynamics in a way that might not be obvious to other viewers.
...man i've lived in some weird cities | tectactoe
10.14.19 | honestly that's an amazing story and i'd be upset if you hadn't told it. films are cumulative of the full experience we have with them, individually, which is why they can mean so many different things to different people. glad you like THE MASTER, though, it's a top of the decade contender for me. (Hertzfeldt's IT'S SUCH A BEAUTIFUL DAY might be the only film to unanimously beat it out for me, but that's a similar case where the film means something to me that it might not mean for everyone/anyone else.)
also yeah that's ohio for you, haha. (i live in michigan so i'm allowed/supposed to talk shit.) | notagenius
12.31.19 | will rank PUNCH-DRUNK LOVE as my no. 1.
it is an important one to me. my love.
I am never sure about THE MASTER... never.
you even rank it as #2 on decade list oh god.
will rewatch it later.
(ps. i registered a RYM account just now and added you, the reviews there are so nice. so exciting) | Larkinhill
01.01.20 | The Master is an amazing film, definitely belongs in the top 10 films of the past decade. Joaquin’s performance is one of the best I’ve ever seen (though I do think his Joker performance is his best, but this is definitely second). And ofc, Philip Seymour Hoffman kills it as per usual. RIP. Probably my all time favorite actor. | notagenius
01.01.20 | holy s, everyone like The Master.
need to get a long-enough sleep and watch it again with my eyes opening like an owl
I thought i fell asleep in cinema during the old time. I suck. T_T | tectactoe
01.01.20 | If it's any consolation, I thought it was merely OK when I first saw it in theaters. Liked it quite a bit more a few years later when I watched it again at home, but it wasn't until viewing number three that I considered it a legit masterpiece. Definitely a film that benefits from multiple viewings. | notagenius
01.01.20 | oh @tectatoe thanks for being encouraging. [sending virtual hug] when i am done with it, will be back and ask for your analysis. then i will analyze it! | Larkinhill
01.01.20 | Yeah I can actually echo that sentiment as well. I did like it when I saw it in theaters, but didn’t love it. It felt too slow, talky and “small” following the huge, epic There Will Be Blood. So I liked it, but with PT Anderson being a top 3 filmmaker for me, I did feel some disappointment.
I loved it after my 2nd viewing, and even more the third time. Need to go ahead and squeeze in a 4th viewing soon. It’s a grower for sure. | notagenius
01.12.20 | >tectactoe and Larkinhill,
kept my words and watched it yesterday. It is a great one, the enjoyable photography, superb performances, talented vague fables.
But my unsatisfied feeling about it is that that religion is sticking on it like a discordant sticker, a lot of ink is spent on Freddie, the development between Freddie and Lancaster, but not between Freddie and religion, and it also omitted the story between Lancaster and the religion he created directly. Post-war background, people's mental state, and their relationship between this religion's popularity. all the explanation is rough in there which makes it not as spontaneous as There Will Be Blood to me.
its really epic film, intriguing, thoughtful and beautiful with a depth.
I would be honored to read your analysis, but you can decide whether or not to share them. Thanks anyway | Larkinhill
01.12.20 | Thanks for trusting our word and giving it another shot! You’ll probably like it even more next time you see it, if you were to watch it again sometime. | Egarran
01.12.20 | Completely agree Nag. | notagenius
01.13.20 | >Egarran
lol
"Nag" is officially taken as my nickname till the day i am not wordy and verbose anymore. that's good. | Egarran
01.13.20 | Nice.
Basically I love most movies that attack religion. But we don't get a lot of those. | tectactoe
01.13.20 | @nag: Glad you gave it another chance and liked it more. Here's the miniature analysis I typed up a few months ago re this film when someone asked. It's from the Top Films of the century thread:
Where THE MASTER excels - for me, personally, anyway - is in the breadth of its subtext, which can be parsed in a variety of ways. I’m allergic to films that try too hard for obfuscated symbolism in order to feign depth or “entice viewer interpretation” such that they bungle the narrative aspects completely. (Unless the film is specifically designed to forego narrative “realism” in lieu of an encompassing abstractness or surrealism or whatever, e.g. most David Lynch films. In those cases I am very hit or miss.) But THE MASTER works so well as a (mostly) non-interpretive, surface-level study of an unhinged mind made malleable through the horrors of war - PTSD and eventually alcoholism - and the search for comfort via ostensible “belonging” that even if you chose not to dig into its many layers, it’d still be a fantastic film. Beyond that, if you are the type who enjoys rummaging through the various allegorical registers of such films, there’s plenty to be found.
One of my favorite interpretations is that it’s an extrapolation of the human psyche—the id (Freddie), the ego (Lancaster), and the superego (Peggie). The id is the pleasure seeker, the thoughtless strand, the no-holds-barred intuition while the superego is the mind’s filter, the one that maintains etiquette, sterility, and societal expectations. The ego is caught in a constant battle between the two (in this case, Lancaster), longing to indulge in the id’s temptations (Freddie’s partying and drinking) while always being reprimanded and whipped back into shape by the superego (Peggie’s constant bossing and unwavering demeanor, right down to her emotionless handjob which is yet another means of control over Lancaster, entirely void of any real sexual interest.) | tectactoe
01.13.20 | I think there’s also merit to the idea it’s a film about two men stranded by loneliness and (mentally) ostracized from the world who find a common ground between their internal isolation. And while I’m not prepared to say that either of them is truly gay, there are definitely undertones of homoeroticism between Freddie and Lancaster. Freddie’s mental instability and long-time separation from his old girlfriend Dorris make him an extremely vulnerable target for Lancaster, a man trapped in a vapid, thankless marriage who must hold up appearances for his family and his cult of followers, but is desperately looking for an escape.
It could be about man’s superficial search for a “master,” or the idea that belonging to something—whether it be a religion, a cult, a subset of society, a political agenda, anything—is correct and proper and normal and “right.” Freddie finds comfort in Lancaster’s quasi-guidance and his acceptance. He does not particularly care about The Cause or any of its ideologies or views or agendas. He merely likes the feeling of belonging to *something* and having someone - Lancaster, in this case - guide him and “show him the way.” Only through various tribulations does Freddie eventually come to the realization that he can indeed be *his own* “master,” and is capable of guiding his only life in whatever direction he chooses. | tectactoe
01.13.20 | Furthermore, perhaps “finding a master” is corollary to finding love. Love, in all its forms, is the driving force for Freddie throughout the entire film. His sexual desires are primitive—he humps a woman made of sand, jerks off into the ocean, lusts after a woman in the wall, writes a lucrative note to a girl he barely knows, flirts with Clark’s wife, imagines a room full of people naked, etc. but the deep-rooted motivation for his wandering is his missed connection with Doris, extracted during the processing scene.
In that sense, Doris was Freddie’s true master. He continues along his aimless path all while never getting closure on the one woman he loved. It wasn’t until he had full closure with Doris—traveling back to her home and learning she was happily married with children—that he was able to completely break free of his commitment to The Cause. He travels back to Lancaster, is offered an ultimatum to stay, and is even persuaded to remain a member of the Cause; but Freddie’s come to the realization of who’s in control, and with only a few tears, he says goodbye to Dodd and company forever—after this, he’s perfectly content with himself.
There’s something to be said about the surface-level allegory for organized religions and cult-like mentalities, their general toxicity and how people become so wrapped up in deity worship that they assuage basic human decency and logical decision making. But I really think the film is richer than that and has more to do with battling one’s internal demons and learning how to break free from the mentality of needing to belong to someone or something in order to be normal. It’s about taking control of your own life and becoming independent amid a society that pushes dependency. I understand it’s not a film for everyone, but goddamn I love every second of it.
(/end) | Egarran
01.13.20 | >I’m allergic to films that try too hard for obfuscated symbolism in order to feign depth or “entice viewer interpretation”
Don't watch The Lighthouse! | tectactoe
01.13.20 | I actually thought THE LIGHTHOUSE was alright, because its symbolism is so UN-obfuscated that I'd argue it's more comical than anything else. | Egarran
01.13.20 | Well, it's been great watching videos of learned, but ultimately personal, interpretations of that movie.
I personally think it's set in the Lovecraft universe. | Valkoor952
01.13.20 | "I’m allergic to films that try too hard for obfuscated symbolism in order to feign depth or “entice viewer interpretation”
Don't ever go close to "Under the silver lake" if you haven't seen it yet
The most self-indulgent pseudo-deep movie I've seen in the last few years. When the director of his own movie acknowledges that most of it doesn't make any sense you know what a waste of time it is. | tectactoe
01.13.20 | Yep, disliked that movie a lot. And I get that its symbolism is ""supposed"" to be purposely nonsensical and dead-ended, but my god it's such a self-conscious quasi-throwback to all of its touchpoints that it barely has an identity of its own. And it's way too fucking long.
[Spoilers for THE LIGHTHOUSE below]
My interpretation was that Pattinson's boat crashed and he died, the island is purgatory and Dafoe is the adjudicator. He commits each of the seven deadly sins on the island, and in his one last chance to repent for his sins, he fake apologizes and ends up double-crossing Dafoe anyway, attempting to sneak up to see the light (i.e., sneaking into heaven) and is punished accordingly. That's why the film closes with his body lying lifeless on the beach being picked apart by seagulls. | Egarran
01.13.20 | Not bad, but then what about the two persons who leave the island at the start?
And the tentacles? Was the CGI bad on purpose? | tectactoe
01.13.20 | don't remember the specifics, but essentially the entire film is a representation of Pattinson's time in purgatory, so people leaving the island could very well be others in purgatory who have been denied and/or sent away. not sure exactly what the tentacles are/were, but of course a lot of what Pattinson experiences in purgatory is amalgamated from his own mind (similar to e.g. a dream or something), which is why there are a bunch of seaman-like things woven into it, and perhaps the reason it is personified as a stranded isle in the first place.
for what it's worth, i thought the movie got quite stupid after the whole "why'dja spill yer beans" shit and never fully recovered, since it devolved into a hot-pot of faux-arty, weird-for-weird's-sake shit, but my interpretation is the only way i can make any sense of it. | Egarran
01.13.20 | There it is.
One thing I don't understand is why Dafoe is suddenly his dog at the end. | notagenius
01.14.20 | >tectactoe
it is brilliant analysis. I got same mind on Freddie Lancaster and Peggie (for they three on poster.) but my understanding of Freddie is not as deep as yours. there are lots of places where I found Lancaster is treating Freddie like a dog (playing in garden, not letting him eat, ask him drive to a spot and ride back, call him good boy) now i can see the not domesticated nature in it. very interesting movie talk. thanks a lot. I will watch it again. | Valkoor952
01.15.20 | So will you be doing an Inarritu ranking? Would be curious about that | tectactoe
03.03.22 | Updated to add LICORICE PIZZA. A fine film by most accounts, but still PTA's weakest since MAGNOLIA. | Ryus
03.03.22 | 1 is 1 for me, but phantom thread is my second favorite. both tremendous films and some of my favorites ever. there will be blood is terrific too, but doesn't grab me emotionally like 1 and 3. | tectactoe
03.03.22 | Yeah, PHANTOM THREAD is phenomenal, and still ranked quite highly on my Best Films of the Decade list. Improved a lot for me on a second viewing, too, with the foreknowledge of Reynolds and Alma's gamesmanship. (Basically I tried to pinpoint the exact moment at which their role-playing becomes apparent to the audience, and PTA does an excellent job of insinuating it without ever coming out and stating it explicitly.)
THERE WILL BE BLOOD probably doesn't strike me as much emotionally, at least not on a super-personal level, but it's fascinating merely as a decomposing character study. And formally ravishing, too, of course.
I think THE MASTER is where both of those talents - the emotional force and the formal gusto - dovetail seamlessly. | tectactoe
03.03.22 | Also need to revisit HARD EIGHT. Believe it's the only film here I haven't seen at least twice, and I'm curious how it would play now having seen the rest of Anderson's oeuvre several times through. | Pheromone
03.03.22 | PTA is one of those directors I wished I loved but actually quite actively find boring | tectactoe
03.03.22 | Formally, or thematically? (Or perhaps both?) | Egarran
03.03.22 | I love to see my enemies fight, so I really dig the capitalism vs christianity concept of Blood. Do we get that in other movies? | YoYoMancuso
03.03.22 | love Magnolia but 1 is 1 so i'm fine with this | Slex
03.03.22 | How are u not even gonna mention Dano when talking about TWBB lol, he's just as good as Day-Lewis | tectactoe
03.03.22 | @Eg: you mean, are there any other movies that specifically pit christianty and capitalism against one another?
@YoYo: das it mane.
@Slex: these are only truncations of my overall thoughts given Sput's 1000 character limit for list entires. often i have to rewrite my full reviews to get the gist across in such remedial real estate. actually, my final review of this film criticized Day-Lewis (more so toward the end of the film), whose devolution into full-blown caricature remains one of the weakest elements for me. I only briefly mention Dano but do concur that he's excellent. Here is an excerpt from my larger review:
"...I’ve always loved Day-Lewis here, but his persona is unmistakably hammy - the Plainview character bordering on caricature - in a film that keeps him engulfed in an environment that demands more restraint. This isn’t so much a problem early on - and I was again kept breathless through the masterful, wordless prologue - when Daniel still encompasses a confidence that precludes his belligerence ; once HW’s oilrig incident occurs (yet another scene that remains utterly perfect) and tensions grow insurmountably tight with Eli (parlayed with a marvelous combination of meek and shifty from Dano), his discreetly pointed megalomania transforms into a distressingly thespian take on self-aggrandizing isolation and, supposedly, madness, culminating in the now-revered “I drink your milkshake!” speech, which honestly might be the film’s single weakest sequence. Actually everything post-1927 feels like a slightly undercooked annex to which Anderson foregoes all his previously established unhurriedness for the sake of making Mr. Plainview’s collapse “more clear,” closing things out with a giant exclamation point (and there was blood after all!), which is just one reason why I prefer the comparative non-conclusion of THE MASTER..." | Egarran
03.03.22 | Confirmed.
I'm not a complete fan of the milkshake scene either, it sounds a bit too much like a joke, and off-brand for Plainview.
PTA also got 'I'm your brother from another mother' in there. Pretty sure that was some kind of tongue in cheek too. | tectactoe
03.03.22 | Yeah, little upsetting that such a monumental film concludes with such a meager popcorn fart. I’ve also always been a bit perturbed that Eli doesn’t appear to age a single day despite 20-some (?) years passing. | deathofasalesman
03.04.22 | #1 is 1 yeah | deathofasalesman
03.04.22 | have we seen paul dano these days? man hasnt aged in 20 years IRL | tectactoe
03.04.22 | Lol true. Last thing I saw him in was OKJA a few years ago, which I didn’t much care for (he was fine, though). I believe he’s in the new Batman film, too, but in all likelihood I might never get around to seeing that. | deathofasalesman
03.04.22 | I'm seriously considering watching new Batman. I like the idea of Riddler being a serial killer and having a more neo-noir edge. But that PG-13 rating is such a copout | twlight
03.04.22 | there will be blood is a 6/5, lol @death have you seen the mpaa rating for the Batman? it's like a paragraph long | Egarran
03.04.22 | https://imgur.com/a/G6XncbI | tectactoe
03.05.22 | based |
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