![]() To paraphrase Magnolia’s musical narrator Aimee Mann, at its best, Anderson’s cinema is all for the sake of momentum. Or: Daniel Day-Lewis staggering implacably down the expanse of a basement bowling alley in There Will Be Blood, or speeding through the night in his sports car in Phantom Thread. Think of Philip Baker Hall patrolling the casino floor in Hard Eight, or Adam Sandler’s desperate sprints through darkened streets in Punch-Drunk Love. ![]() There are plenty of such unbounded sensations in Anderson’s movies characters cruising across the widescreen frame.
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