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Mike Leigh 4 Film Retro for his 75th

secrets and lies, vera drake, happy go lucky, and topsy-turvy

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Months of Meryl: Sophie's Choice

"This is the best Streep performance ever captured on film. "That's all."" - Dorian

"I support this movie, partially because I loved the Styron novel and, along with Schindler's List, it's one of the best American movies to teach people about the holocaust. Streep is sublime in it, and it's such a great role - she gets to play Sophie before the war, during the war, after the war, etc. " - Tom

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Entries in Paul Thomas Anderson (2)

Thursday
Jan182018

The Planet of the Links

Pull it together, Nathaniel! There is so much showbiz news of late that we've been buried in avalanche of it. How to stop and collect the linkage? So herewith a looooong list of links in a vain attempt to catch up or but by the time you've read it we'll surely have missed another 20 stories in addition to those that already slipped by in the past two weeks. What I'm saying is "too many things too many things too many things" 

So read on and click away for The Avengers: Infinity War, Paul Thomas Anderson, Jessica Chastain, Big Little Lies paydays, Sundance buzz, and much much more. Please to enjoy or at least peruse...

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Wednesday
Dec132017

Soundtracking: "Magnolia"

With a new Paul Thomas Anderson film waiting in the wings, Chris looks at the music of Magnolia...

Rarely is a film and musician as inextricable from one another as Paul Thomas Anderson’s Magnolia and Aimee Mann. The singularity of her voice repeated throughout helps streamline Anderson’s massively expansive vision, like a tidy bow pulling together the film’s many untidy pieces. With the film’s religious themes and allegories, her omniscient voice makes Mann the film’s watchful angel, perhaps a messenger of God. She's as much as character as everyone else, if a far more enlightened one.

“One is the loneliest number...” and Anderson announces his ensemble as a collection of “ones”. The Harry Nilsson track is a smart choice, establishing that no matter their twisty associations to one another, each is essentially isolated. Having Mann cover the classic song marries the old and the new, sounding like something that’s lingered for an indeterminate time but still aches like a fresh bruise. A curse of the biblical variety destined to perpetuate and repeat itself...

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