These aren't necessarily spoilers, but I'm going to tag this anyways, so read at your own risk. For those who have seen the film, I have some thoughts:
Mostly, I loved this. It starts out exactly how I expected after the first trailer - we get this Merchant/Ivory-esque painting of a repressed Englishman whose only ambition is his work. And then, it shifts. It becomes this really odd but hilarious romance film that has, maybe, moments of what we'll later see; but unless I missed something vital, it shifts again and things get really weird, really quickly. I'm not totally sure it works.
The production itself is incredible and PTA's direction unarguable. Costumes are magnificent, and the cinematography which was apparently done by a camera department just doing what Anderson said - since there's obviously no DP credit - is restrained and gorgeously lit.
Performances across the board are excellent though I was most impressed by Krieps. DDL needs no explanation.
Also, it did feel just about as long as it was. And the score... wow it's a score.
These aren't necessarily spoilers, but I'm going to tag this anyways, so read at your own risk. For those who have seen the film, I have some thoughts:
Mostly, I loved this. It starts out exactly how I expected after the first trailer - we get this Merchant/Ivory-esque painting of a repressed Englishman whose only ambition is his work. And then, it shifts. It becomes this really odd but hilarious romance film that has, maybe, moments of what we'll later see; but unless I missed something vital, it shifts again and things get really weird, really quickly. I'm not totally sure it works.
The production itself is incredible and PTA's direction unarguable. Costumes are magnificent, and the cinematography which was apparently done by a camera department just doing what Anderson said - since there's obviously no DP credit - is restrained and gorgeously lit.
Performances across the board are excellent though I was most impressed by Krieps. DDL needs no explanation.
Also, it did feel just about as long as it was. And the score... wow it's a score.
I don't think it shifts too much. I thought it was idiosyncratic and hilarious from more or less the first few scenes. Phantom Thread had me snickering straight away with "It's too early for confrontations" and it didn't let up from there.
These aren't necessarily spoilers, but I'm going to tag this anyways, so read at your own risk. For those who have seen the film, I have some thoughts:
Mostly, I loved this. It starts out exactly how I expected after the first trailer - we get this Merchant/Ivory-esque painting of a repressed Englishman whose only ambition is his work. And then, it shifts. It becomes this really odd but hilarious romance film that has, maybe, moments of what we'll later see; but unless I missed something vital, it shifts again and things get really weird, really quickly. I'm not totally sure it works.
The production itself is incredible and PTA's direction unarguable. Costumes are magnificent, and the cinematography which was apparently done by a camera department just doing what Anderson said - since there's obviously no DP credit - is restrained and gorgeously lit.
Performances across the board are excellent though I was most impressed by Krieps. DDL needs no explanation.
Also, it did feel just about as long as it was. And the score... wow it's a score.
I don't think it shifts too much. I thought it was idiosyncratic and hilarious from more or less the first few scenes. Phantom Thread had me snickering straight away with "It's too early for confrontations" and it didn't let up from there.
-Vader
this one actually is spoilers. don't read it if you haven't seen it:
The comedy PTA was going for didn't click for me until Reynolds meets Alma and orders that ridiculous meal, but I'm sure a second viewing would make me appreciate the stuff up to there more.
When I say there's a shift that doesn't work, I'm specifically talking about Reynolds entering into a weird BDSM thing with Alma where she poisons him whenever things get out of hand, but Reynolds is okay with it for some reason, and in the last scene literally asks her to poison him (unless I misconstrued the "I'm hungry" line?). Reynolds is weird and has mommy issues, but I felt like that "twist" came out of nowhere. Sure, I think there are hints to this kind relationship up to the reveal (the stuff with his mom), and maybe watching it again would give me more understanding of subtle stuff I'm sure PTA has in there, but on first viewing, I'm just not sure if the "twist" (if I should call it that) worked for me.
i get the power dynamic thing i think maybe... idk. i really want to see it again, and it's been like 3 hours lol
These aren't necessarily spoilers, but I'm going to tag this anyways, so read at your own risk. For those who have seen the film, I have some thoughts:
Mostly, I loved this. It starts out exactly how I expected after the first trailer - we get this Merchant/Ivory-esque painting of a repressed Englishman whose only ambition is his work. And then, it shifts. It becomes this really odd but hilarious romance film that has, maybe, moments of what we'll later see; but unless I missed something vital, it shifts again and things get really weird, really quickly. I'm not totally sure it works.
The production itself is incredible and PTA's direction unarguable. Costumes are magnificent, and the cinematography which was apparently done by a camera department just doing what Anderson said - since there's obviously no DP credit - is restrained and gorgeously lit.
Performances across the board are excellent though I was most impressed by Krieps. DDL needs no explanation.
Also, it did feel just about as long as it was. And the score... wow it's a score.
I don't think it shifts too much. I thought it was idiosyncratic and hilarious from more or less the first few scenes. Phantom Thread had me snickering straight away with "It's too early for confrontations" and it didn't let up from there.
-Vader
this one actually is spoilers. don't read it if you haven't seen it:
The comedy PTA was going for didn't click for me until Reynolds meets Alma and orders that ridiculous meal, but I'm sure a second viewing would make me appreciate the stuff up to there more.
When I say there's a shift that doesn't work, I'm specifically talking about Reynolds entering into a weird BDSM thing with Alma where she poisons him whenever things get out of hand, but Reynolds is okay with it for some reason, and in the last scene literally asks her to poison him (unless I misconstrued the "I'm hungry" line?). Reynolds is weird and has mommy issues, but I felt like that "twist" came out of nowhere. Sure, I think there are hints to this kind relationship up to the reveal (the stuff with his mom), and maybe watching it again would give me more understanding of subtle stuff I'm sure PTA has in there, but on first viewing, I'm just not sure if the "twist" (if I should call it that) worked for me.
i get the power dynamic thing i think maybe... idk. i really want to see it again, and it's been like 3 hours lol
The movie is about the shifting power dynamics in all relationships, and how,
at times, women must seize power from the man when he's too domineering or the man from the woman when she's too overbearing and/or needy. Reynolds is yielding to Alma's need for a voice and place in their relationship as much as he's putting himself into the tender spot of helplessness he experiences after a big fashion show. When he's "like a baby."
The ending isn't out of place at all, it's part of the same dance for power they've always had. Ultimately, it's a joke on what all relationships need to work and last.
I don't think it shifts too much. I thought it was idiosyncratic and hilarious from more or less the first few scenes. Phantom Thread had me snickering straight away with "It's too early for confrontations" and it didn't let up from there.
-Vader
this one actually is spoilers. don't read it if you haven't seen it:
The comedy PTA was going for didn't click for me until Reynolds meets Alma and orders that ridiculous meal, but I'm sure a second viewing would make me appreciate the stuff up to there more.
When I say there's a shift that doesn't work, I'm specifically talking about Reynolds entering into a weird BDSM thing with Alma where she poisons him whenever things get out of hand, but Reynolds is okay with it for some reason, and in the last scene literally asks her to poison him (unless I misconstrued the "I'm hungry" line?). Reynolds is weird and has mommy issues, but I felt like that "twist" came out of nowhere. Sure, I think there are hints to this kind relationship up to the reveal (the stuff with his mom), and maybe watching it again would give me more understanding of subtle stuff I'm sure PTA has in there, but on first viewing, I'm just not sure if the "twist" (if I should call it that) worked for me.
i get the power dynamic thing i think maybe... idk. i really want to see it again, and it's been like 3 hours lol
The movie is about the shifting power dynamics in all relationships, and how,
at times, women must seize power from the man when he's too domineering or the man from the woman when she's too overbearing and/or needy. Reynolds is yielding to Alma's need for a voice and place in their relationship as much as he's putting himself into the tender spot of helplessness he experiences after a big fashion show. When he's "like a baby."
The ending isn't out of place at all, it's part of the same dance for power they've always had. Ultimately, it's a joke on what all relationships need to work and last.
-Vader
That's developed almost literally in the trailer as well.
