‘There Will Be Blood’ and symmetry →
Paul Thomas Anderson’s most mature work so far, There Will Be Blood stands as one of the most critically acclaimed films of the 2000s. This Press Play video has seven minutes of very solid critical analysis.
Paul Thomas Anderson’s most mature work so far, There Will Be Blood stands as one of the most critically acclaimed films of the 2000s. This Press Play video has seven minutes of very solid critical analysis.
The Denzel Washington as Malcom X and Anna Paquin in the club are my favorites of this set.
Ian Grey, writing for Press Play:
To me, Rouge! Is a traditional musical, except with twice as many shots run at the speed of a trance remix. The Transporter is a Euro-trash version of a John Woo cartoon. And Friday Night Lights with graceful camera? Nope. Boring. We’d never be able to slink into those sizzling Texas mini-worlds on network time. And I’ve not yet mentioned Paul W.S. Anderson’s jaw-dropper of a surprise, Resident Evil: Afterlife, one of the greatest uses of multi-level geometry and spatiality in cinema I can recall seeing, where oneattack scene features twenty or so color-coded Milla Jovoviches attacking hundreds of color-coded bad guys, and it’s not even a high point.
Chaos, I think, has been evolving.
He’s got a point. Much maligned “chaos cinema” would technically embrace the Bourne films. And 28 Weeks Later. True, the ratio of bad to good films in the chaos canon is staggeringly high, but let’s not completely overlook what’s great.