Last of the Monster Kids

Last of the Monster Kids
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Monday, February 19, 2018

OSCARS 2018: The Disaster Artist (2017)

I came late to the cult phenomenon known as “The Room.” Even though I had heard the jokes and memes, it still proved to be a baffling, fascinating experience. Every new viewing of “The Room” reveals another bizarre detail that wasn't noticed before. Some call it the worst movie ever but, if a film's greatness is measured by its rewatchability, “The Room” may actually be one of the best. So I had to read the behind-the-scenes book, “The Disaster Artist,” written by Tommy Wiseau's reluctant co-conspirator Greg Sestero. It was, no joke, the best book I read last year. I was uncertain of James Franco adaption, due to Franco's uneven work, but “The Disaster Artist” beat the odds. As the film picked up more nominations and awards, including an Oscar nomination for Best Adapted Screenplay, a crazy idea emerged. Tommy Wiseau made “The Room” with hopes of it winning an Academy Award. And now, in a roundabout way, that dream is shockingly close to coming true.

Greg Sestero, a part-time model and struggling actor, meets Tommy Wiseau, an eccentric older man with an accent of undetermined origin, in an acting class. The shy Greg immediately takes a liking to Tommy, who is as fearless as he is lacking in talent. The two soon move out to L.A. To pursue their dream of becoming stars. Greg gets an agent and a little work but Tommy lands no jobs. Rejected and fed up with this world, Tommy decides he'll make his own movie. The script for “The Room” – a story of passion and betrayal – soon takes shape. Wiseau somehow locates the funds to make the movie independently and convinces Greg to co-star in the film. Greg will soon find his friendship with Tommy tested, as production on “The Room” proves difficult, mostly thanks to Tommy's incompetence.

While “The Room,” at least as Wiseau envisioned it, was a mighty melodrama about love and treachery, “The Disaster Artist” has much more modest goals. This is a story of friendship and dreams. As insane as Tommy appears, he encourages Greg to get out of his shell. There's never a dull moment with Tommy. The two bond over their mutual dreams of stardom and love of James Dean. Both are misfits with far-out dreams that seem impossible. While Greg is satisfied to go through established channels, Tommy – partially because he's a weirdo dismissed by everyone – has to think outside the box. There's few cinematic dreamers more far-out than Tommy Wiseau and he goes out of his way to achieve it. In an odd way, he does succeed in his goal of making something people love and respond too. And that friendship wouldn't have been possible without Greg's support.

Of course, being Tommy's friend is not exactly easy. “The Disaster Artist” does not mince words  when it comes to Wiseau being a total asshole. The fearlessness and eccentricity that makes Tommy weirdly charming also makes him hugely difficult to work with. He constantly forgets his own lines, wastes resources in odd ways, and is totally unable to smoothly run a film set. Moreover, he's willing to abuse his actors. Either by locking them up in a sweltering studio or, in the case of “The Room's” infamous sex scenes, getting a little too close with his actress. The point of Sestero's “The Disaster Artist” was that Greg decided to be Tommy's friend in spite of him being a huge asshole and a massive weirdo. Despite all that, there is something undeniably compelling about Wiseau, power mad maniac though he may be.

The prospect of “The Disaster Artist” being turned into a typical James Franco/Seth Rogen stoner comedy concerned me. Odd as it might be to say this, I didn't want the story's strange and utterly sincere heart to be overlooked. Luckily, the cast is actually one of the best parts of “The Disaster Artist.” Franco does not perfectly nail Wiseau's implacable accent but does an admirable job. Moreover, he plays the infamous auteur as both exaggerated lunatic and a fully formed human being, who is motivated by his pain and his wild hopes. Dave Franco, meanwhile, is surprisingly great as Greg. His fresh-faced enthusiasm soon gives way to a weariness that works perfectly, playing off of Tommy's constant misplaced confidence. The cast is peppered with prominent names. Such as Alison Brie as Greg's long-suffering girlfriend or Rogan as Sandy, the put-upon script supervisor/quasi assistant director on the film. While they're all good, with Rogan being especially funny, the Francos and the brotherly chemistry they have are clearly the beating heart of this film.

As an adaptation, “The Disaster Artist” treats its source material in somewhat broad strokes. Smaller elements of the book, such as Tommy's jealousy over Greg's girlfriend and how that informed “The Room,” become major parts of the movie. Meanwhile, a lot of insane details are clipped. The film definitely could have mined the actual filming of “The Room” for more bizarre laughs. Franco also flat-out invents some encounters. Such as a chance meeting with a pre-”Breaking Bad” Bryan Cranston leading Greg to getting a bit part on “Malcolm in the Middle.” Or Tommy attempting to impress Judd Apatow in a restaurant. Some of these elements threaten to make “The Disaster Artist” into one long in-joke. Such as prominent cameos for Sharon Stone and Melanie Griffith. Or the comparisons between the actual “Room” scenes and Franco's recreations that play over the end credits. Yet Franco's decisions are mostly sure-footed. Such as taking the story slightly past the literary “Disaster Artist's” conclusion, showing Tommy's reaction to ”The Room” become a masterpiece of unintentional comedy.

Honestly, “The Disaster Artist” still feels like an elaborate in-joke. Franco frequently apes “The Room's” look, with awkward green screen shots and sloppy handheld camera pans. I'm surprised the film connected with critics and audiences, even those that were unfamiliar with “The Room,” the way that it did. While I would recommend the book over the movie, Franco's “The Disaster Artist” is still a hilarious and surprisingly touching story. It humanizes Tommy Wiseau while providing some insight into the insane decisions, both personal and incomprehensible, that lead to the movie's creation. While nothing can quite top Wiseau's aesthetically questionable anti-masterpiece, “The Disaster Artist” is an entertaining companion piece in its own right. [7/10]

Sunday, February 18, 2018

OSCARS 2018: Last Men in Aleppo (2017)

History, sadly, has a tendency to repeat itself. Last year at the Academy Awards, Iranian director Asghar Farhadi – whose film, “The Salesman,” ultimately won the Best Foreign Language Film prize – was not able to attend the ceremony due to President Trump's travel ban. A year later, something very similar is playing out in another category. Feras Fayyad and the rest of the team behind “Last Men in Aleppo,” one of the Best Documentary nominees, will not be able to attend the ceremony due to another one of the President's executive orders, restricting and banning travel from a more-or-less random selection of countries. This is neither the time nor the place to get into why this sucks but I'll just say that it's a shame that the filmmakers behind this motion picture will not be able to attend the ceremony celebrating their extraordinary film.

Since 2011, Syria has been torn apart by civil war. The simplest version is: Civilian opposition to tyrannical president Bashar al-Assad has led to in-fighting among the Syrians. Air raids and bombings by the Syrian government and its allies, primarily Russia, frequently occur on cities deemed as centers for the opposition. “Last Men in Aleppo” focuses on the White Helmets, a citizen-run search-and-rescue organization. The film focuses on three men – family man Khaled Omar Harrah and brothers Subhi and Mahmoud Alhussen – as they put their own lives in danger every day to rescue people, pulling them out of the wreckage of their own homes.

Feras Fayyad and his team put their cameras down on the ground, in the war zone. This approach lends “Last Me in Aleppo” an immediate feeling. The cameras capture life as it happens. We see White Helmet workers unwind between rescue missions. They play soccer, eat, and sing songs. A lot of time is focused on Khaled spending time with his kids, playing and talking with them. (One especially effective moment shows him sitting in a pitch black room, listening to a cellphone message from his daughters.) He also loved his pet fish, so the film spends some time showing how he procure and cared for his pets. Scenes like this provide context to Khaled and the other's acts of heroism. These are ordinary men, not larger than life figures.

This direct approach to its subject also lends “Last Men in Aleppo” a startling immediacy. One moment shows the Alhussen brothers approaching a burning car, only for an explosion to occur immediately afterwards. We see the camera men, also putting their lives in danger, try and flee to safety with the others. The directors do not turn their cameras away from the hard realities of this story. There are multiple scenes of people, children especially, being pulled from the pulverized wreckage of their own homes. “Last Men in Aleppo” shows several victories, of people being rescued alive. But this is not as common as the sad truth. The White Helmets often have to clean up body parts and remains. Families are broken, illustrated in a scene where a mourning father weeps and curses Bashar. Homes are destroyed, shown in a moment where a drone-mounted camera hovers around the completely wrecked buildings.

“Last Men in Aleppo” does not focus on the political side of the Syrian conflict. (And it pointedly does not acknowledge the rumors manufactured by Russian propaganda that the White Helmets are associated with terrorist organizations.) However, the people interviewed in the doc do sometimes raise an important question: Why do people choose to live in a war zone? Many of the White Helmets, such as the  do it out a sense of duty to their families and countrymen. Some seem like they just want to help people. Khaled Harrah, like many of the White Helmets, ultimately gave his life to this mission. The film concludes with sudden, stark footage of his funeral, followed by statistics on the on-going violence in Syria.

Movies like “Last Men in Aleppo” are not easy to watch. It puts the audience right in the middle of a bloody, intense conflict. It shows the aftermath of that violence without flinching much. Stark reminders like this are needed. Yet tales of heroes, like Khaled Harrah and his fellow White Helmets, are also sorely needed. It's fitting that some of the most touching moments in “Last Men in Aleppo” show us the man in his everyday life, as a human being that was loved by his friends and family. It's a difficult but deeply affecting motion picture. [8/10]

OSCARS 2018: Strong Island (2017)

For a while, it seemed like the Academy was resistant to the idea of films being distributed via digital streaming. If the Netflix logo being greeted with jeers at film festivals is any indication, certain portions of the film community is still resistant to it. However, digital releases have made some serious in-roads with the Academy this year. “Mudbound” scored some high nominations. The documentary category, meanwhile, is dominated by digital distribution. Three of the nominees in this category were released primarily through digital platforms. “Strong Island,” for example, was also a Netflix release. As time goes on, I suspect we'll see more and more nominees released in this manner.

“Strong Island” is from black transgender documentary filmmaker Yance Ford. In 1992, Yance's brother, William, was murdered. Following a brief confrontation at an auto shop, William was shot and killed by a 19 year old white man, Mark Reily. Reily claimed self-defense and was completely dismissed of all wrongdoing by an all-white jury. In the years since, the Ford family has been torn apart by grief at William's death and the injustice of his murderer escaping punishment. “Strong Island” concerns the family's attempt to find some sort of peace over this.

“Strong Island” is, more than anything else, a portrait of a family. The film spends a lot of time with the family before even discussing the facts of William's murder. We hear from his siblings, mother, and friends about his life. Yance discusses driving around with him, receiving encouragement from him. Lauren Ford talks about reading comic books with her brother or seeing movies with him. His friends recall fond memories of playing football or driving around, trying to find women. “Strong Island” gives you a strong idea of this family, the connections and love they had, before introducing you to the senseless tragedy that happened.

And that tragedy did not occur in a vacuum. One of the earliest scenes in the film has Yance's mother, Barbara, discussing an anecdote from her youth. How her father died of an asthma attack because he was forced to wait in the colored waiting room at the hospital. Ford devotes time to explaining the racial breakdown of her neighbor, how it was essentially a segregated black community inside a predominantly white island. About how her parents both had to work hard, long jobs in order to give their children a future. It's absurd to think the color of the attacker and victim's skin had nothing to do with how things played out. It's an injustice that continues, as many involved with the court case, even two decades later, refused to talk to Ford for the film.

While racial prejudice and the role it played in her brother's murder is clearly a big competent of “Strong Island,” grief seems to be the primary theme of the film. The film's visual presentation confronts the audience head-on with this. Ford frequently talks directly into the camera. The film is full of shots of the family home, devoid of people, seeming stark and empty. Another reoccurring visual of the film are family photos, laid out simply in view of the audience. Upon hearing about the flimsy reasons why Mark Reily's self-defense claim was believed, Yance breaks down, weeping long and hard. We see the emotional toll William's death took on the entire family, how it contributed to his father having a stroke or Barbara's mounting health problems. William's death created trauma that may never heal.

“Strong Island” is a highly personal film, obviously. It's successful in making the audience feel the loss the entire Ford family went through, their pain, anger and frustration at a justice system that failed them. Ford's directional sense is strong, creating a film that communicates its themes visually as well as through its interviews. It's not an easy watch but a necessary one, drawing attention to a problems in this country as well as painting a portrait of a family torn apart by a loss. [7/10]

Saturday, February 17, 2018

OSCARS 2018: Loving Vincent (2017)

Few artist have inspired as much speculation as Vincent van Gogh. His vision and innovation, his mental illness and eccentricity, his violent death, his lack of success in life and postmortem recognition as a genius: It's pretty much the perfect romantic ideal of the struggling, misunderstood artist. Fittingly, van Gogh's life has been dramatized many times over the years, in film and song. The most recent example is “Loving Vincent.” This take happens to be animated. The film has drawn much attention for being animated by painting. Each frame was hand painted, in an attempt to replicate the swirling color of van Gogh's painting. This technique has earned the movie much critical success and now an Oscar nomination for Best Animated Feature of the year.

“Loving Vincent” is set one year after van Gogh's death by self-inflicted gunshot. Armand Roulin, the son of a postmaster, is given the mission of delivering a letter from Vincent to his brother Theo van Gogh, who has also since passed away. Roulin travels to the Parisian countryside. Along the way, he communicates with a number of people who knew van Gogh. Each provide their own impressions and memories of the man, some of them conflicting, some of them showing the details of the legendary artist's last days on Earth.

Simply as a technical achievement, “Loving Vincent” is a triumphant. How does one even paint an animated movie? Apparently, 65,000 frames of animation were hand-painted by a team of 125 painters. On the surface, this is quite impressive. I wish the degree of skill and commitment that went into “Loving Vincent” was more obvious. The viewer figures out pretty early on that the artists working on the film painted over actors portraying the movie's events in front of a green screen. While the color and waving painted lines burst impressively into your eyes, the images they bring to life are too often underwhelming. Instead of following van Gogh's burning imagination to create a visually spellbinding movie, “Loving Vincent's” presentation is essentially the most painstaking, work-intensive, and skillfully produced gimmick I've ever seen in animation.

Narratively, I struggled a bit with “Loving Vincent” as well. The decision to tell van Gogh's story through other people's eyes strikes me as an odd one. The artist himself emerges as a vaguely defined character. We hear about his habits from other people, we see the condition of both his illness and genius, and the facts leading up to his death are repeatedly pulled together. Yet we get very few insights into van Gogh's condition. At one point, the movie even attempts to re-jigger's van Gogh's suicide as some sort of mystery, flirting with the idea that he might have been murdered. Armand Roulin isn't much of a protagonist himself. He's more of a linking device for the various flashbacks that give us the information about van Gogh. Simply put, “Loving Vincent's” story does not engage on an emotional level.

Beyond a visual presentation that makes an impression of sorts, there are some other things to recommend about “Loving Vincent.” Some of the performances bring the story briefly to life. Saoirse Ronan as Marguerite Gachet, the woman who nearly had a romantic relationship with Vincent, manages to enchant and impress the viewer even while animated. There's a brief sequence involving a highly animated doctor laying out the details of van Gogh's fatal injury. There's several truly impressive shots, the painted presentation crossing cities and the countryside.

Ultimately, “Loving Vincent” is a movie that strikes me as more admirable than endearing. Clearly, those who made it had nothing but utmost respect for van Gogh. Yet they also sometimes indulge in some truly corny decisions, like ending the film by recreating the painter's most famous work. I wish the film matched the effort, which really does blow me away, that was put into creating it. It's not a movie that will stick with you because of its characters or story but because of the impressive, if somehow also oddly shallow, technique that brought it to life. [6/10]

OSCARS 2018: I, Tonya (2017)

A while ago, for reasons now I can't exactly recall, I looked up Tonya Harding on Wikipedia. I was six years old in 1994 when the entire scandal went down and only had vague memories of it, filtered through years of late night jokes and Weird Al songs. Upon hearing the ice skater's life story, I was struck by how compellingly unusual it was, thinking it would make a good film. Only a few days later, I read that a movie about Harding's life was in development. It was a rather cosmic bit of timing. From the moment images and trailers came out, it was apparent that “I, Tonya” wasn't going to be quite your typical Oscar-friendly biopic.

The film is framed by interviews with Harding, her mother, her former coach and her ex-husbands. Raised by an abusive mother and a father who taught her to hunt and work on cars, she was a bit of a tomboy. However, Tonya had one love above all: Ice skating. She began classes at four, pushed by her harsh mother. By the time she was a teenager, she could perform a triple axel, one of the most difficult maneuvers in skating. Her skill and raw talents won her medals but judges found her attitude off-putting. A volatile relationship with an asshole boyfriend and technical failures prevent her from grabbing the Gold at the Olympics. Eventually, a plot is cooked to sabotage a rival.

“I, Tonya” gives Harding the fair treatment she's been denied for far too long. She had a very hard life, casually abused by a harsh, emotionally distant mother and then hit and attacked by an emotionally unstable boyfriend/husband. “I, Tonya,” for a while, makes it look like LaVona Harding's shitty behavior and constant mistreatment somehow made Tonya stronger or harder... Before dismissing this, in a hilarious and blunt way. Attention is draw to how cruel and imbecilic the people around Tonya were. This does not excuse her of whatever wrong doing she played in what happened but a great deal of context is provided. More than anything else, “I, Tonya” makes you really like Harding. She's portrayed as scrappy, independent, and insightful in her own way, refusing to back down from those that treated her unfairly.

Craig Gillespie's film is also really funny. Some of the characters and events in the film are so outrageous, fact truly being stranger than fiction, that a natural humor emerges. Such as Jeff Gillooly's idiotic best friend, Shawn, a compulsive liar who still lives with his mom. Or the frequently outrageous behavior of Harding's own mother. The interview framing device allows the movie to frequently break the fourth wall. Harding and other characters will directly address the audiences, either dismissing or confirming the events portrayed on-screen. Gillespie's direction matches this pitch. The camera often races through the ice rink with Harding, matching the speed and grace of her movements, further impacting on the audience the amount of skill involved in her routine.

Unlike many Academy-approved biopics, “I, Tonya” is not just a delivery system for some showy performances. Which isn't to say the performances aren't showy. Despite appearing in quite a few high-profile movies, this is the first time I've really been sold on Margot Robbie. Robbie is hilarious and powerful, biting into Harding's dialogue, spitting wild statements like venom. As LaVona Harding, Allison Janney is essentially playing an evil version of Bonnie, her character on the sitcom “Mom.” She almost never smiles, using every opportunity to undermine her daughter's success. Janney makes LaVona's outrageous behavior funny without underselling what a monster she was, painting a picture of a heartless woman. Sebastian Stan, the buff Winter Solider, is unrecognizable in the scrawny Jeff Gillooly. Stan sacrifices any actorly dignity as the nervous, pathetic shrimp of a toxic man. (Though the film actually underplays how terrible of a person Gillooly was in real life.) It's a fantastic cast.

Honestly, my biggest disappointment about “I, Tonya” is that it focuses primarily on Harding's ice skating career and the following scandal. I was really hoping the movie would make more room for the boxing, the sex tape, the rock band, that time she saved an old lady's life. She's had a truly bizarre, unique life. Some of the needle drops on the soundtrack are a little too on-the-nose too. (And I wish they could've used that lovely Sufjan Stevens song somewhere.) For the most part, “I, Tonya” is a funny, sad, energetic, and beautifully performed motion picture. I don't know which notorious nineties woman will get the biopic treatment next – Lorena Bobbitt? Mary Kay Letourneau? – but I'd welcome that wave of revisionism, that recognizes these women as people, not punchlines. [7/10]

Wednesday, February 14, 2018

OSCARS 2018: Call Me by Your Name (2017)

Last year, “Moonlight” pulled off a surprise – in a really very literal sense  - win for Best Picture. It was a major win for progressiveness, for such a graceful film about LGBT romance to claim the year's top film prize. From early on, “Call Me By Your Name” was pegged as this year's “Moonlight,” in that it's also about a romance between two men. Directed by “I Am Love's” Luca Guadagnino, and adapted from a novel by Andre Aciman, the film is unlikely to grab Best Picture the way “Moonlight” did. However, it's an excellent movie that probably rounds out the best slate of Best Picture nominees I've seen since I started caring about the Oscars.

Every summer, Elio's family takes a trip to the Italian countryside. It's 1983 and he just turned 17. The son of an archaeologist, Elio often feels like an outcast. Jewish, intellectual, and naturally prickly, he finds the annual trips to mostly be a bore. (Even though there's a pretty girl in town interested in him.) Things change when Oliver, a graduate student, is invited to stay with the family over the summer. The two are intrigued by each other. Soon, Oliver and Elio enter into a passionate love affair. Both keep their meetings a secret. Elio soon begins to feel strong emotions for Oliver, suspecting this is more than just a casual summer fling.

“Call Me By Your Name” is an aching, passionate film about adolescent desire and secrets. Elio and Oliver's relationship begin with fleeting looks and light touches. When left alone, their passion overflows and the two lock into passionate kissing. The scenes of the two together, alone, are sensual without being exploitative, peaking with a sweaty and bare chested love scene. Elio's libido is in overdrive, as he's sleeping with a girl in town and also a fresh peach. However, what he shares with Oliver is special. Their romance is intuitive, based on things they both feel. Both feel like they have to keep their affection secret, making their moments together even more special. This is an intimate journey meant only for the two of them. This is best represented in the titular line. By calling each other by their own names, Elio and Oliver acknowledge their secret pact.

It's also a passionate that is meant to be short lived. Elio and Oliver have their secret time together, sharing their bodies and feelings when no one else is around. Eventually, both have to go back to the real world. In a meaningful moment, Elio watches Oliver get on a train and ride away. He then breaks down in tears on the phone, asking his mom to come pick him up. “Call Me by Your Name” then makes a spotlight for probably the best movie dad of the year. Elio's father – who has been aware of the affair the whole time – explains to him to feel his heartbreak, not to lock himself off from these emotions. “Call Me By Your Name” could have ended on that note but instead includes an epilogue, set around Hanukkah. This is when “Call Me By your Name” completely opens its wounded heart up to the audience, letting loose a powerful and intensely melancholic side. The dalliances of youth are short-lived but cause ripples that last a lifetime.

Pinning the film together are two impressive lead performances. Timothee Chalamet realizes Elio as the teenage boy he is. He's moody, prickly, somewhat off-putting, and way too horny. Yet there's also a grace and beauty in his adolescent fumbling. Elio is, in some ways, more intelligent and perceptive then the people around him. He also feels more, which Chalamet beautifully captures. Armie Hammer, whose matinee idol good looks have led to him wasting his talents in far too many mediocre would-be blockbusters, reminds us why we like him in the first place. As Oliver, he's sensitive, funny, charming, but sweet too. His romantic passion brings out a boyish side but he's more reserved with his feelings then Elio is.

“Call Me By Your Name” is not just a beautiful movie, emotionally, but also visually. Luca Guardagnino shoots the Italian cities and countryside in a loving manner. The streets of Italy are alive with people. The country areas, the fruit trees and flowing waterfalls, bring a natural beauty to the film that no production budget could buy. Adding to this beauty is an amazing soundtrack. Sufjan Stevens contributes several fantastic original songs. “Mystery of Love” is as gorgeous and full of longing as the film that accompanies it. “Visions of Gideon” rolls over the end credits, making sure their isn't a single dry eye left in the house by the time the film ends. Guardagnino also throws in some period accurate Italio disco and New Wave numbers, with “Love My Way” by the Psychedelic Furs getting an especially significant shout-out. I really like that song.

There's so much wrapped up in “Call Me by Your Name.” It's a multi-layered film about being queer in a time when this was less accepted then it is now. It has something to say about the Jewish experience, especially in places were that is less common. By setting the story in Italy, and making Roman history part of the film's backbone, Guardagnino raises interesting questions about his feelings towards his home country. These questions are wrapped in a story that beautifully captures the joy and heartbreak of being young and in love. After his finishes up that “Suspiria” remake, Guardagnino will supposedly start work on a sequel, revisiting the characters during the AIDS era. This will probably be a worthy film but part of me wishes to leave Elio and Oliver where they are, separated but never far from each others' thoughts. [9/10]

Tuesday, February 13, 2018

Director Report Card: Paul Thomas Anderson (2017)

8. Phantom Thread

Just the announcement of a new Paul Thomas Anderson movie is an event. That's the level of anticipation that greets your new projects when you've made at least three era defining masterpieces. His latest, “Phantom Thread,” was an especially mysterious venture. Up until its release, we only had a vague plot summary – that it was about a fashion design in 1950s England – to go on. The film saw Anderson re-teaming with Daniel Day-Lewis, which made “There Will Be Blood” fans go crazy. Then the announcement came that Day-Lewis was retiring following the film's completion. For all these reasons and more, “Phantom Thread” was hotly greeted by cinema fans. The movie, perhaps Anderson's most difficult to unravel, has already spurned debate and discussion.

Reynolds Woodcock is the greatest fashion designer of his day. He has designed gowns for princesses, movie stars, the rich and famous world over. Privately, he's a guarded, conflicted man, living with a controlling older sister and obsessed with his dead mother. While getting lunch at a  country diner, he meets a waitress named Alma. He asks her out on a date and she quickly falls in love with him. Reynolds, however, proves a difficult man to love and live with. Soon, Alma takes drastic measures to earn his affections.

With “Punch Drunk Love,” Paul Thomas Anderson made a movie about the sea-sick, whirlwind feelings that occur when falling in love. “Phantom Thread” is also a love story but couldn't be more different from Anderson's earlier film. This is a movie about how difficult it can be to love someone. Alma and Reynolds' relationship ebbs and flows wildly. They have close, intimate, even sweet moments together. These can then be followed with ugly fights, Reynolds becoming upset over trivial manners. As is often the case in real relationships, one partner takes and the other gives. “Phantom Thread” is all about the tension that can exist even between the most loving partners.

Sometimes that tension even manifests in a more visceral way. Since “Phantom Thread” has been such a mysterious project, I've heard the film described as belonging to several different genres. Some have referred to the movie as a thriller. This isn't incorrect. There's frequently a quiet unease running throughout “Phantom Thread.” Alma and Woodcok's first date turns awkward when the subject of his dead mother comes up. Reynolds sister, Cyril, exerts a sinister, unnerving influence on her brother. As the relationship comes close to collapsing, during a tense dinner or a New Year's Eve party, you often wonder how violently things are going to fall apart. “Phantom Thread” is indeed a thriller, where all the thrills exist in the quiet space between two people. A ghost, of sorts, even appears at one.

Yet I've also seen “Phantom Thread” called a comedy. This is somewhat true as well, as the film slowly reveals itself to be an extremely dry comedy of manners. Reynolds Woodcock is a supremely awkward person. He's prone to impolite outburst. During a fever, he repeatedly tells the doctor to “fuck off.” When well, and running into the same man at a Christmas party, he repeats the insult. The scene where he falls sick also has a sudden, odd comedy to it, the man collapsing suddenly. Depending on how you see the film, a scene where Woodcock becomes agitated because of asparagus is ever deeply unsettling or wryly funny. “Phantom Thread” tows this odd genre line, funny or uncomfortable depending on how you react to it.

As I review “Phantom Thread,” its the same week the final film in the “Fifty Shades of Grey” trilogy comes out. Anderson's latest film presents an interesting contrast. This is also a deeply kinky film, without any actual sex being depicted on-screen. Woodcock and Alma's first date concludes with her coming back to his house. She stripes down to her undergarments, while Woodcock records her measurements. The film's conclusion has Woodcock giving himself up to Alma in a similarly humiliating way. It's hard to imagine someone as anally retentive as Reynolds Woodcock ever having physical sex. It seems these odd games of control, manipulation and exhibition, are the closest he can get to physical intimacy. (The film also luxuriates in rich food, a visceral, bodily pleasure Woodcock can enjoy, that almost takes the place of sex.) This is another way in which “Phantom Thread” is a very atypical love story.

More than anything else, I related to “Phantom Thread” as a story about perfectionism. Reynolds Woodcock demands every facet of his life be planned out and controlled. This is set out early on, when he orders a very specific meal at Alma's dinner. Any disruption to this schedule greatly upsets him. Alma simply entering his workshop while he's stitching a gown is enough to piss him off. Her making a little more noise then usual at breakfast enrages him. Further more, he demands perfection from his product. When a drunken, depressed debutante passes out in one of his dresses, he insists she take it off, as she's sullying his work. This is because his work is his life, as evident in the secret, personal messages he weaves into his outfits, the titular phantom threads. As a perfectionist with some obsessive-compulsive tendencies, Anderson's latest impresses me the most when focusing on how Woodcock's obsessive desire for perfection disrupts any semblance of a normal life.

Most of the press that has greeted the film has surrounded Daniel Day-Lewis' announcing his retirement, supposedly to pursue dress-making, the profession he learned while preparing to make “Phantom Thread.” Day-Lewis' performance here is not the theatrical, spine-rattling style of acting he displayed in “There Will Be Blood.” Woodcock is a far more reserved character than the thundering Daniel Plainview. He's quiet, his obsessions often working at him from the inside out. Day-Lewis, as always, puts an insane amount of detail and obvious thought into his acting. Woodcock's physicality suggests his emotional repression. His greater neurosis – his hang-ups about his dead mother, his odd relationship with his sister – are expressed mostly by what he doesn't say. Yes, it's a fantastic performance, a rich and thoughtful bit of acting.

Starring opposite Day-Lewis is Vicky Krieps, a relatively unknown character actress. Krieps, however, is just as good as the lead actor. Krieps' body language is as controlled, as expressive about the characters' inner thoughts, as Day-Lewis' is. Where Woodcock keeps his feeling bottled, Alma is more intuitive and feeling. Her attempts to interact with him, to pierce his prickly personality, frustrates her. Krieps displays this frustration in the most charming way possible. She plays Alma like a real person, desperate to connect with this person she has feelings for but finding it difficult. It's an impressive performance and I don't know how Krieps didn't earn a Oscar nomination herself.

Lesley Manville did, however, grab a Best Supporting Actress nomination. She plays Cyril, the closest thing “Phantom Thread” has to an antagonist. While Woodcock's obsessive tendencies are often counteracted by an occasional sweetness or vulnerability, Cyril is always hard and judgmental. She's more practical than her brother and seems to openly resent Alma. Instead of trying to keep the two together, she considers the girl a petty distraction for Reynolds. Of the film's primary characters, Cyril is probably the least explored, making Manville's performance more difficult to judge. The character is so unlikable and I found Manville's acting didn't overcome this status.

Being a movie about perfection, every aspect of “Phantom Thread” is sumptuously detailed. The costumes and production designs is incredible. There's so much meaning in every background item. The film is a feast for the eyes, the viewer being wowed by the amount of skill and work on display in every minute of this motion picture. The period details are accurate but, more importantly, reflect the character's world. The costumes, naturally, are brilliant and beautifully designed. Even the sound design is incredible, especially in moments such as that disastrous breakfast. Someone spreading butter on a piece of toast is made to sound like fingers on a chalkboard. As strictly a technical achievement, “Phantom Thread” is incredible.

Anderson just pointing his camera at this extraordinary detail would probably be enough. Instead, his visual approach to the film is just as meaningful as the rest of it. He switches back and forth between moments of overwhelming stillness – such as Alma and Reynolds' dinner, which is primarily shot in two static ways – with scenes that have more motion to them. Such as the camera following behind Reynolds' car as he drives towards Alma's restaurant. Or the dressmaker rushing into a wild New Year's party to retrieve the woman. Johnny Greenwood, by now Anderson's go-to composer, provides a score to match. The music fluctuates between throbbing low chords and sweeping, romantic themes.

When a director has made as many great films as Paul Thomas Anderson has, it's hard to decide where his latest work falls. “Phantom Thread” is a more mysterious film than his more widely recognized masterpieces. I have no doubt people will be trying to unravel its unspoken secrets for years to come. It's also a beautifully constructed and deeply beguiling film, with fantastic performances, that gracefully dances towards one of 2017's most meaningful endings. If it is indeed Daniel Day-Lewis' final film, it's an awfully good note to go out on. [Grade: A-]