Skip to main content

Phantom Thread (2017)

Phantom Thread (2017) is written and directed by Paul Thomas Anderson. In the 50s, a British dressmaker falls in love with a waitress only to have her find out that he's very picky about most things.

The problem when watching "artistic" movies is that there's going to be symbolism almost throughout the film. Phantom Thread is not shy on the symbolism and it suffers more than it helps. It almost seemed like a test for Paul Thomas Anderson to say 'I wonder if I can get away with this and still get an Oscar nomination.' I'm not hating on PTA, I mean he did There Will Be Blood, one of my favorite movies.

Daniel Day-Lewis is one of the best, if not the best actor ever and continues to show it. There's not a scene of his acting that I can complain about. I expected such going in.

Vicky Krieps plays the female lead, Alma, and can't hold a candle to Lewis and in such her performance is easily criticizable. She has two good scenes in the film, and the rest feel as if you're watching paint dry. She pauses for about three seconds before answering any question. After fifteen minutes of that, I was already tired of her.

Lesley Manville plays the sister of Lewis, Cyril, and has an easy role for an English woman to fill. She does a decent job, but nothing out of her wheelhouse.

The first third of the movie is the most boring, and it's intentionally boring. I'm serious, it's apart of the symbolism in the film that will make sense later. The dialogue is good and befitting. The choice in camera usage was offputting at some points. A particular scene went from shaky handheld to stationary, then to steady cam. The abrupt changes were something most of the movie-going audience won't notice. Then again most people won't go out and watch this.

Result: B (Unless you're a movie buff, you're gonna get bored.)

Comments

Popular posts from this blog

The Housemaid (2025)

The Housemaid (2025) is directed by Paul Feig , best known for comedies like Bridesmaids and Freaks and Geeks , and the tonal clash is noticeable. Feig leans into slick presentation and surface-level tension, but the film never quite reconciles its thriller ambitions with its obvious messaging. As an adaptation, it feels safer and more predictable than it wants to be, especially given how clearly it telegraphs its twists. Sydney Sweeney , known for Euphoria and Anyone But You , plays a down-on-her-luck woman recently out on parole who is desperate for work. She does what she can with the role and brings some emotional weight early on, but the writing limits her range. Her character cycles through bashful and annoyed so often that it starts to feel repetitive rather than psychologically layered. Amanda Seyfried , recognizable from Mamma Mia! and Mean Girls , plays the wealthy woman whose life slowly unravels as the power dynamic flips. Seyfried is solid and more controlled than Sw...

Marty Supreme (2025)

Marty Supreme (2025) is written and directed by Josh Safdie , who previously directed Good Time and Uncut Gems . This film carries that same frantic Safdie energy, with constant motion and pressure that rarely lets the audience breathe. It is chaotic by design, sometimes to a fault, but the intensity feels intentional rather than sloppy. Even when the pacing threatens to overwhelm, the film remains compelling due to the strength of its performances. Timothée Chalamet , known for Dune and Call Me by Your Name , plays the title role and fits it perfectly. He fully commits to the character’s ambition and volatility, balancing confidence with insecurity in a way that feels natural for him at this stage of his career. This is not a transformative performance, but it is a highly effective one, and he clearly understands the rhythm and demands of a Safdie-style film. Odessa A’zion , who audiences may recognize from Grand Army and Hellraiser (2022) , is a standout as the love interest. S...

Anaconda (2025)

Anaconda (2025) is a reboot comedy of the 90s film, written and directed by Tom Gormican , who previously delivered the clever and self-aware The Unbearable Weight of Massive Talent . Unfortunately, that lightning does not strike twice. The core problem is simple. The jokes do not land. If horror films are judged by scares per minute, then comedies should be judged by laughs per minute, and this one delivers virtually none. Any humor that works was already burned in the trailer, leaving the film feeling empty and painfully drawn out. Jack Black , known for School of Rock and Jumanji , leans heavily into his loud, chaotic persona, but here it becomes grating rather than charming. His performance feels unchecked and repetitive, as if volume alone is meant to substitute for comedy. Instead of elevating scenes, he often drains them of momentum. Paul Rudd , who audiences know from Ant-Man and I Love You, Man , somehow comes off just as irritating. Rudd is usually likable even in weak m...