Anytime Leonardo DiCaprio takes on a new role, the chances are high that it’ll be one worth considering for awards buzz, and that’s pretty much been the case for the past 30 years, since he co-starred in one of the biggest blockbusters of all time, James Cameron’s Titanic. Of course, if Leo’s former co-star John C. Reilly had anything to do with it, Kate Winslet’s Rose might have been wooed by a completely different actor as Jack.

DiCaprio teamed up for the first time with Paul Thomas Anderson for One Battle After Another, a big winner at this year’s Oscars. But the icons came close-ish to working together in the late ’90s for Boogie Nights, and the actor has voiced some Sliding Doors-esque regrets about not signing on to play Dirk Diggler, a role that went to Mark Wahlberg. Now, Reilly has spoken out about his advisory role in that process, which arguably amounts to some of the worst career guidance imaginable.

Appearing on Ted Danson’s podcast Where Everybody Knows Your Name, streaming on YouTube, the actor shared that he thought he was doing a former co-star a solid by steering him clear of working on Titanic. As he put it:

At that point, Anderson's only produced feature was 1996's Hard Eight. And while it was acclaimed upon its release, it didn't exactly eclipse all of James Cameron's previous accomplishments. But John C. Reilly still tried to woo the young actor by playing up the same kind of criticisms that Cameron faced as his production's budget expanded beyond expectations. Namely, that nobody wanted to see that historical tragedy on the big screen. He continued:

To be fair, John C. Reilly also addressed the idea that in 1997, making a breezy Hollywood movie about a well-endowed porn star wasn't exactly the norm, and may not have seemed like the most promising role to DiCaprio, especially when he already had a major part locked down.

The way Reilly puts it, DiCaprio doesn't seem like he was ever truly invested in taking his buddy's advice, especially when it ran counter to all the other counsel he'd been hearing from those hired to guide his career. The Walk Hard actor said:

Interestingly enough, Mark Wahlberg met with James Cameron for Titanic, although he was far more interested in driving around in the director’s Hummer than showing off his acting skills. Less than 10 years later, Wahlberg and DiCaprio shared the screen in Martin Scorsese’s The Departed, though I’d love to know if that movie would have still happened had their 1997 movie roles been switched.

DiCaprio is once again working with Scorsese for a psychological horror movie releasing in 2026, What Happens at Night, with Jennifer Lawrence, Mads Mikkelsen and Patricia Clarkson co-starring. Meanwhile, John C. Reilly will next be seen in the upcoming action movie How to Rob a Bank from John Wick’s David Leitch. Maybe we’ll hear one day that Reilly tried to talk Keanu Reeves out of playing that franchise’s vengeful hitman.

Latest episode of the Fans can find Titanic streaming via Paramount+ subscription, so if it’s been a while since you’ve seen that ol’ movie about a boat sinking, look no further.

The 98th Academy Awards, which we covered extensively on our live-blog, have come and gone, and among the 2026 Oscar winners was beloved director Paul Thomas Anderson for One Battle After Another. With PTA’s win, an Oscar’s connection pops up that actually makes you stop and think. One very specific thing links the first Oscar wins of three wildly different directors: Martin Scorsese, James Cameron, and Paul Thomas Anderson. And no, it’s not a shared genre, a studio, or even a similar style.

All three filmmakers earned their first (and, so far, only) Academy Awards for movies starring Leonardo DiCaprio. Once you see it laid out, it’s hard to ignore. Their connection comes from these movies starring the former teen heartthrob:

• The Departed (Martin Scorsese)
• Titanic (James Cameron)
• One Battle After Another (Paul Thomas Anderson)

Three directors. Three very different careers. One surprisingly consistent through-line. DiCaprio.

The Leo Pattern Is Hard To Ignore

To be clear, these directors are not in the same position regarding their Award wins, though each of them, in my opinion, could be categorized as shocking Oscar wins.

Martin Scorsese famously had to wait decades before winning Best Director for 2007's The Departed, despite building one of the most respected filmographies in cinema history.

James Cameron, on the other hand, didn’t just win for Titanic; he dominated the Oscars with it, which led to his now infamous 'I'm the King of the World' speech. While his other films, like Avatar, have won Academy Awards across his career, his first major breakthrough and the only time he personally took home trophies came with a DiCaprio-led film.

The same goes for Paul Thomas Anderson. After years of critical acclaim and multiple nominations, One Battle After Another finally got him over the finish line, as he won Best Picture, Director and Adapted Screenplay. (Though I would hardly categorize it as one of PTA's best movies.) Like Cameron, his movies have won Oscars (Daniel Day-Lewis won for his performance in There Will Be Blood, for example). However, PTA's personal trophies didn't come to him until he worked with DiCaprio on OBAA.

So while their careers look very different on paper, there’s a strange overlap in how their Oscar stories actually played out.

The Leonardo DiCaprio Factor

What makes this even more ironic is Leo’s own Oscar history. Despite being at the center of these major wins, he only has one Academy Award himself, and it's for The Revenant. And notably, that win has nothing to do with any of the films that helped these directors secure their Oscars.

In other words, the Inception actor has been a key part of multiple Oscar-winning moments for directors, without personally winning for those same projects. That’s kind of wild.

It also says something about the roles he chooses. The Once Upon a Time… In Hollywood lead has built a career around working with filmmakers at pivotal moments, whether that’s helping bring massive projects like Titanic to life or collaborating on prestige films like The Departed and One Battle After Another.

He’s consistently in the mix when something big is happening, even if the awards don’t always land directly in his hands.

It’s easy to write this off as a quirky stat, but it also highlights how certain collaborations shape awards history in ways that aren’t always obvious. DiCaprio has spent years aligning himself with ambitious directors, and those partnerships have clearly paid off, even beyond his own accolades.

Three directors with multiple Oscars between them, and in each case, a Leonardo DiCaprio-led film played a key role in getting them there, especially when it came to that first big win. At the very least, it’s one of those connections that would make an awesome little piece of trivia at your next Oscar night party.

This year's best picture winner and the movie that got Paul Thomas Anderson his first Oscar, One Battle After Another, is streaming with an HBO Max subscription.

The time is finally upon us. The 98th Academy Awards, hosted by Conan O’Brien, are this Sunday, and here at CinemaBlend, we’ve made our picks on who we think will take home the top eight categories of the night. Three of the categories (Best Picture, Best Director, and Best Actress) have clear-cut favorites amongst our staff. The remaining five (both screenplay awards, both supporting actor awards, and the award for Best Actor) are, quite honestly, very tricky to guess, because our opinions vary quite a bit.

The ceremony will be live on March 15th at 7pm ET on ABC, and available to stream live with a Hulu subscription. There are sure to be some surprises, but we’ve done our best to predict what we think will happen (though not necessarily our personal choices). We’ll start with the Best Screenplay Awards and work our way towards our pick for Best Picture, hitting all the acting awards and Best Director along the way. Each of our picks will be in bold among the list of nominees.

Best Adapted Screenplay

• Will Tracy for Bugonia
• Guillermo del Toro for Frankenstein
• Maggie O'Farrell and Chloe Zhao for Hamnet
• Paul Thomas Anderson for One Battle After Another – Our Predicted Winner
• Clint Bentley and Greg Kwedar for Train Dreams

In our staff poll, the Best Adapted Screenplay choice is perhaps the most divisive. All five nominees were favored by at least one writer, and it was quite close between Hamnet, Frankenstein, and One Battle After Another. This highlights just how tricky this task can be, because it’s easy to make a case for any of the five. Ultimately, in a very tight poll, Paul Thomas Anderson came out on top for One Battle After Another.

Best Original Screenplay

• Robert Kaplow for Blue Moon
• Jafar Panahi and Nader Saivar for It Was Just An Accident
• Josh Safdie and Ronald Bronstein for Marty Supreme
• Joachim Trier and Eskil Vogt for Sentimental Value
• Ryan Coogler for Sinners – Our Predicted Winner

Sinners set the record this year for the most Oscar nominations for a film ever, with 16, including this nomination for writer Ryan Coogler. The momentum for Sinners has only been growing as this very long awards season has gone on (thanks, Olympics). While the staff pick wasn’t as close as it was for Adapted, there was quite a bit of support for Marty Supreme and Sentimental Value, but in the end, Sinners came out on top. This isn’t quite a slam dunk, but it’s the most definitive of the five awards that weren’t easy picks for us.

Best Supporting Actor

• Benicio del Toro for One Battle After Another
• Jacob Elordi for Frankenstein
• Sean Penn for One Battle After Another
• Delroy Lindo for Sinners – Our Predicted Winner
• Stellan Skarsgård for Sentimental Value

This race has been truly all over the place. Del Toro started the season strong with a string of critics' awards, Elordi won at the Critics' Choice, Skarsgård won the Golden Globe, and Penn has come on strong late with wins at BAFTA and the Actor Awards (formerly The SAG Awards). Four of the five nominees were picked by at least two writers each, and though Lindo hasn’t really been in the conversation until very late, on the strength of Sinners and his amazing performance, he is a real contender now. In fact, he is now the frontrunner, in our opinion.

Best Supporting Actress

• Elle Fanning for Sentimental Value
• Inga Ibsdotter Lilleaas for Sentimental Value
• Amy Madigan for Weapons
• Wunmi Mosaku for Sinners
• Teyana Taylor for One Battle After Another – Our Predicted Winner

Like Best Supporting Actor, the race for Best Supporting Actress has been a wild ride, but it seems to have come down to three: Madigan, Mosaku, and Taylor. Each of the three has taken home awards this season, and while our choice ultimately had quite a bit of support, it’s impossible to rule out one of the other two women winning. Two months ago, it seemed like Taylor was going to sweep the season, but Madigan and Mosaku clearly have a lot of momentum as we get to the end here. We still think Taylor is the favorite for One Battle After Another, but just barely. Madigan and Mosaku are considered the favorites by quite a few folks around here.

Best Actor

• Timothée Chalamet for Marty Supreme – Our Predicted Winner
• Leonardo DiCaprio for One Battle After Another
• Ethan Hawke for Blue Moon
• Michael B. Jordan for Sinners
• Wagner Moura for The Secret Agent

Now this is a fascinating race, and CinemaBlend’s poll reflects that. We asked the staff to name both who they would vote for and who they think will win. While the majority of staff have predicted Chalamet to win, a huge majority picked Michael B. Jordan as who they would have voted for, personally. It’s safe to say the race is between these two, and, in full disclosure, much of our polling took place before Jordan won at the Actor Awards. There seems to be a late surge happening in favor of the Sinners star. It would not surprise anyone if he takes home the Oscar, but we predict that Chalamet will win in what could be a historic victory.

Best Actress

• Jessie Buckley for Hamnet – Our Predicted Winner
• Rose Byrne for If I Had Legs I'd Kick You
• Kate Hudson for Song Sung Blue
• Renate Reinsve for Sentimental Value
• Emma Stone for Bugonia

Here’s where we’re getting to the Oscars that everyone on staff is most confident about in our predictions. In fact, in the Best Actress race, there haven’t been any surprises at all leading up to the Oscars. Jessie Buckley has completely swept the awards leading up to this Sunday, and there is no reason at all to think that will change at the Academy Awards. Buckley’s performance in Hamnet is incredible, and it’s hard to imagine anyone sneaking in and winning this over her. Stone and Byrne did receive some support from the CinemaBlend staff, but an overwhelming majority picked Buckley to win Best Actress.

Best Director

• Paul Thomas Anderson for One Battle After Another – Our Predicted Winner
• Ryan Coogler for Sinners
• Josh Safdie for Marty Supreme
• Joachim Trier for Sentimental Value
• Chloe Zhao for Hamnet

Like Best Actor, the race for Best Director comes down to two men, Ryan Coogler and Paul Thomas Anderson. All season long, the general consensus is that this is PTA’s time and he’s going to walk away with the win. Our prediction is no different, as a huge majority of our staff believe that this is Anderson’s award to lose. Could he, though? Well, interestingly, yeah, he could. As with Michael B. Jordan, when we ask the staff for their favorite, most picked Coogler as their personal choice, even if almost everyone still predicted PTA to win.

Best Picture

• Bugonia
• F1: The Movie
• Frankenstein
• Hamnet
• Marty Supreme
• One Battle After Another – Our Predicted Winner
• Sentimental Value
• Sinners
• Train Dreams
• The Secret Agent

It has gotten trickier and trickier to predict Best Picture over the years. Sure, there are times like two years ago when everyone pretty much knew that Oppenheimer was going to take home the biggest prize of the night. But then there are ones like last year when Anora came on very strong at the end of awards season, but was a little bit of a dark horse on Oscar night. This year could be either.

The strong consensus of the CinemaBlend staff is that One Battle After Another will win Best Picture, but as in a couple of categories, a majority of the staff picked Sinners as their personal favorite. This isn’t surprising, after all, Sinners was our choice for the best movie of 2025. The late momentum for Sinners has turned this award into a real nail-biter, and it wouldn’t be shocking to see Ryan Coogler on stage accepting the award at the end of the night. However, as a group, we have to stick with our prediction, given that all but three staff members picked One Battle to win (interestingly, the other votes all went to Hamnet).

You can go to our list of the 98th Academy Awards nominees to see who could win in every category, including all the technical ones, and everything else. Other than KPop Demon Hunters winning Best Animated Feature and “Golden” from that movie winning Best Song (sorry again, Diane Warren) being pretty much foregone conclusions, there are close races in every single category.

Keep an eye out for our live blog as well, as we will be reacting along with everyone else when the winners are announced.

Benicio Del Toro’s work in Paul Thomas Anderson’s One Battle After Another has been widely praised ever since the film debuted last fall, and the man truly earns every syllable of it with his performance. Playing the stoic and organized Sensei Sergio St. Carlos, he is a keystone player in the story helping Leonardo DiCaprio’s “Bob Ferguson” evade authorities, and he steals every scene he’s in. It stands among the best work he’s ever done (recognizing that the man is already an Oscar winner), and one’s appreciation for it is only enhanced learning how instrumental he was in crafting the sensei’s arc.

Many Academy voters are still considering their choices in advance of the Oscars ceremony scheduled in a few weeks, and those confounded by the competition in the Best Supporting Actor cateogry would do well to read the new profile about Del Toro in The Hollywood Reporter. The feature reveals that he was a key collaborator with Paul Thomas Anderson when it came to the story implementation of Sensei Sergio St. Carlos, as he had some major issues with the script as it was first presented to him – which involved a murder and cover-up in his dojo. Explaining his problem with the logic of it, the actor recalled the notes he penned on the script:

The idea of a double murder and the cleanup of that double murder was not something that Benicio Del Toro felt tracked logically – but instead of turning down the project, he instead presented a whole new path for the character. Instead of just being karate teacher to Chase Infiniti’s Willa, he is also a major player in what he apparently suggested to Paul Thomas Anderson as a ‘Latino Harriet Tubman situation.’

The filmmaker said in an email to the trade that he was never totally happy with what he had written prior to Del Toro’s note, and that suggestion, “made everything fall into place.”

Those who have seen the film probably don’t need an explanation why this was revolutionary for the direction of One Battle After Another (pun 100% intended). Sensei Sergio St. Carlos went from being an incidental part of the movie to a part of its core narrative and themes. He’s the exact right guy that Bob Ferguson needs to go during his sudden crisis, and his mix of chill and efficiency is dazzling on every rewatch.

Will Benicio Del Toro win for Best Supporting Actor? He has some stiff competition in Jacob Elordi (Frankenstein), Delroy Lindo (Sinners), Stellan Skarsgård (Sentimental Value) and even his One Battle After Another co-star Sean Penn – but it’s fair to say at this point that he stands a pretty good chance at picking up his first Oscar since the one he got for Steven Soderbergh’s Traffic. Those who haven’t seen his work for themselves can do so with a HBO Max subscription, and the 98th Academy Awards will air on Sunday, March 15.

Adam Sandler built his career making a series of very silly comedies, but then he surprised a lot of people when he began to shift into more dramatic productions. It’s been a lucrative move, as Sandler has received a lot of praise for these kinds of performances. Apparently he can thank Tom Cruise for all of that.

Adam Sandler's first dramatic role was in Paul Thomas Anderson’s Punch Drunk Love. It’s a role that was apparently offered to Sandler in a very odd way, as he revealed during the Santa Barbara International Film Festival (via People). He was on the set making one of those silly comedies when he got an unexpected call from an unexpected movie star. Sandler explained…

The same year Little Nicky hit theaters, Tom Cruise received an Oscar nomination for Paul Thomas Anderson’s Magnolia. It seems this connection led to Tom Cruise playing a bit of Hollywood matchmaker, connecting the director with an actor with whom he already wanted to work. Sandler continued…

Sandler says he then went to see Magnolia, more than a little surprised that Paul Thomas Anderson wanted him in a film. Punch Drunk Love isn’t necessarily remembered as well as other films from the director, but it's arguably one of Anderson’s best films. It is also remembered as the movie that showed Hollywood that Adam Sandler could do dramatic roles.

Today, Sandler splits his time between different films. 2025 gave us both Happy Gilmore 2 and Jay Kelly, revealing just what sort of range Sandler really has. Had Paul Thomas Anderson not taken the chance of Sandler, we might have never seen him give incredible performances like Howard Ratner in Uncut Gems. I guess we have to thank Tom Cruise for all of it.

Melania, the documentary film about the first lady, has been a controversial topic since it was first announced. The film has been ripped to shreds by critics and has made little at the box office, although the film’s strong audience score on Rotten Tomatoes is apparently legitimate. Even though few are paying to see the movie, some people who have had their work associated with the film have asked for it to be edited, but now the producer of Melania is clapping back.

The backlash comes from a joint statement issued by Paul Thomas Anderson, director of Daniel Dan Lewis' would-be retirement movie Phantom Thread, and Jonny Greenwood, lead guitarist for the band Radiohead, who also composed the film’s music. The statement claimed that Greenwood was not consulted on the use of the music, which violated an agreement, and as such, wanted the music removed. Speaking with Breitbart, Melania producer Marc Beckman said…

It’s a pretty strong statement to say that Anderson and Greenwood are lying, but it’s certainly possible there’s a bit of a legal gray area here. The statement from the Phantom Thread team stated up front that Greenwood doesn’t own the music from the 2026 film release, that it belongs to Universal Pictures.

However, the composer agreement Greenwood had apparently said that he would be consulted on any use of the music. It’s entirely possible that the Melania team got the permission from Universal, but that permission also came without consulting the composer. If that were truly required, then we'd have a situation where nobody is lying, but the movie has every reason to believe they have the rights.

Music rights and the Trump Administration are no strangers. There are numerous instances of music being used at rallies for the President, both during his campaign and since, that have seen artists who don’t politically align with Trump request their music not be used, as they did not give permission.

If Anderson and Greenwood are truly hoping to see the music removed from the film, it will seemingly take legal action. Based on what Marc Bechkman says, he believes he has the full legal right to use the music. He continued…

It’s unclear if this issue will simply end here or if a legal battle could be on the way. Even if a lawsuit is filed its unlikely anything will impact the theatrical release of Meliana, as the doc will likely be out of theaters before any judgement was made.

It's rare, though not unheard of, for films to be changed while in theaters. It's far more common for a movie to be changed between its theatrical and home release. It's possible we could see the music changed before the movie hits streaming, if only to avoid any future legal issues. As an Amazon MGM project, you'll need a Prime Video subscription to watch it.

The Melania documentary is facing another post-release controversy, and this time it has nothing to do with its Rotten Tomatoes score. The 2026 movie release is receiving a new round of criticism, this time from two prominent figures in the film and music worlds. Director Paul Thomas Anderson and Jonny Greenwood are calling for the removal of a piece of music from their Oscar-winning collaboration, Phantom Thread, from the documentary, citing issues with its use.

In a joint statement obtained by Entertainment Weekly, Anderson and Greenwood explained that the music was included without proper consultation. While Greenwood composed the critically acclaimed film’s score, Universal holds the copyright, a distinction that often complicates third-party licensing. According to the statement:

Anderson and Greenwood did not comment on the subject matter or political framing of Melania. Instead, the pair focused narrowly on contractual obligations tied to the score’s reuse.

Phantom Thread, released in 2017, marked one of the most acclaimed collaborations between Anderson and Greenwood. The film, which starred Daniel Day-Lewis in what was meant to be his final on-screen role, before he returned to acting last year, earned six Academy Award nominations and won Best Costume Design. Greenwood’s score was widely praised for its elegance and restraint, and his partnership with Anderson has become one of modern cinema’s greatest composer and director relationships.

The documentary at the center of the dispute, Melania, has already been the subject of intense discussion since its release. Directed by Brett Ratner, the film focuses on Melania Trump’s life during the weeks leading up to Donald Trump’s re-election campaign. While it posted a strong opening weekend at the box office, it has also faced criticism over its reception, financing, and broader cultural implications.

As of now, representatives for Universal Pictures and Focus Features, which handled distribution for Phantom Thread, have not publicly responded to the request. It’s also unclear whether the documentary’s producers plan to comply or how quickly a change could be implemented if they do. Altering a film post-release can involve replacing music cues, re-editing scenes, or updating digital distribution copies, all of which require coordination across platforms.

The request places Anderson and Greenwood among a long list of artists who have objected to their work being used in projects tied to the Trump family without consent. Over the years, musicians across genres have publicly demanded that their songs be removed from political events, campaign materials and related media projects.

For the filmmaker and composer, however, the issue appears rooted less in politics and more in protecting creative agreements. Their statement emphasizes the importance of consultation and consent, even when a studio technically controls the copyright. At the time of publication, Melania remains in theaters with the Phantom Thread music intact, and no official changes have been announced. Whether the filmmakers’ request results in an updated version of the documentary, at least for its expected streaming release for those with a Prime Video subscription, remains to be seen.

When Quentin Tarantino talks movies, people listen. Whether he’s praising a critical punching bag like Joker 2, taking a swing at a universally beloved classic, or asking 'wtf is a movie now,' he does it with the gusto of a man who has spent his entire life mainlining cinema. So when he recently shared his personal top-ten films of the 21st century, cinephiles naturally perked up. And yes, There Will Be Blood made the list, but it wouldn’t be a movie pick from the Pulp Fiction filmmaker without him critiquing the heck out of one aspect of the film most people praise.

But in classic Tarantino fashion, placing a film in his top ten didn’t stop him from going full film-school-professor on one specific aspect. He praised Paul Thomas Anderson’s masterpiece loudly when appearing on The Bret Easton Ellis Podcast…then immediately dragged one performance so hard you could practically hear Daniel Plainview slamming a bowling pin. Before we get into the fallout, here are the Reservoir Dogs helmer’s comments as he said them:

Then came the part that had my ears perk up and will undoubtedly have folks talking. He added:

All due respect, but… beg your freakin’ pardon? I’m going to go ahead and disagree with the legendary filmmaker, because on this one, I think he’s wildly off base. But hey, Tarantino is gonna Tarantino — only he could call one of the most acclaimed actors of his generation “weak sauce” while pitching an alternate-universe There Will Be Blood where Austin Butler shows up as Eli Sunday. Somewhere in the multiverse, that version absolutely exists, and I guarantee the accents are flawless.

As for me? I think Dano is perfectly cast. His performance is unnerving, slippery, and genuinely skin-crawling in a way that makes Eli Sunday feel like a different species. Dano has delivered some of the most memorable villain work of the last two decades — from There Will Be Blood to his chilling turn as the Riddler in The Batman to the devastating fragility he brought to Prisoners. Weak? Not even remotely.

And Tarantino’s take on Dano isn’t the only eyebrow-raiser here. In the same chat with Ellis, he gushes about Midnight in Paris but says he can’t stand Owen Wilson — yet another opinion I cannot cosign. But hey, I didn’t direct Inglourious Basterds, so what do I know?

There Will Be Blood, which you can watch streaming with a Paramount+ subscription, still made Tarantino’s top ten movies of the century, despite his Dano grievances. So, would he drink its milkshake? Absolutely. But he’d also tell you exactly how it could’ve been mixed better.

Car chases have appeared in movies for decades now, and various directors have managed to put their own personal touches on them. Paul Thomas Anderson apparently sought to do just that in his 2025 movie release, One Battle After Another, and he succeeded with flying colors. The sequence in question enhances the already-stellar third act in a major way. Honestly, I thought I’d seen every kind of big-screen, vehicular pursuit, but this stressful and climactic segment is something else.

Major spoilers for One Battle After Another lie ahead.

Why Is The Final Car Chase In One Battle After Another So Great?

From a storytelling standpoint, this chase across a hill-laden road centers mostly around young Willa Ferguson, who seeks to evade capture from her newly discovered biological father, Colonel Steven J. Lockjaw. Ultimately, Lockjaw is handled by Christmas Adventurers Club member Tim Smith, who’s been hired to kill the colonel. That leaves Smith as Willa’s primary pursuer all while her Lebowski-like dad, Bob, ends up driving on the same road to find her.

The narrative stakes are high enough, but PTA and his DP, Michael Bauman, skillfully boost them via the way they shoot the chase. Filmed at the “Texas Dip” near Borrego Springs in California, the sequence is filmed from three distance-related perspectives, which highlight the road ahead of the drivers, the hills in the distance and the ways in which the vehicles drift in and out of each drivers’ sightline. The frontal road shots are particularly immersive, as they’re filmed almost from the perspective of the cars as opposed to their occupants.

What makes those aforementioned shots even cooler is the natural dipping nature of the road, which is downright mesmerizing. On paper, the notion of filming (and in such a distinct location) feels obvious, but to actually see it executed is mind-blowing. As amazed as I was, stress kicked in while I was in the theater as well, as the shots of the cars drifting in and out of sight made me nervous. So, you can imagine that I gasped when Tim crashed his car into Willa’s parked vehicle (a trap she devised by taking advantage of his blind spot).

The critically acclaimed One Battle After Another, which is PTA’s first true thriller, delivers plenty of excellent scenes with incredible set pieces. However, I’d argue that, from a technical standpoint, this car chase is the film’s greatest achievement, and that's saying a lot with this fantastic flick.

There’s A Lot To Love About One Battle After Another

As noted in our One Battle After Another review, it’s one of the best films of 2025 and a strong addition to Paul Thomas Anderson’s filmography. Anderson tells a story steeped in political and social commentary, but he never preaches. The performances from the cast, including Leonardo DiCaprio, Teyana Taylor, Sean Penn, Regina Hall and up-and-comer Chase Infiniti, are also stellar. And, of course, the filmmaking on display is nothing short of impeccable. There’s even another car chase earlier in the movie that’s as aptly staged as it is visceral.

That second chase, though, is still the crown jewel and, even if viewers have seen films like Smokey and the Bandit, The Italian Job or Baby Driver, they’ll still appreciate it. I’d imagine viewers will also enjoy the wild ending that ultimately comes after the emotionally draining sequence. I’m not sure how any other filmmakers could possibly top this particular car chase, but I’d be mighty impressed if someone managed to. For now, though, I know I’m going to have to see OBAA’s chase a few more times.

One Battle After Another is now playing in theaters nationwide and, if possible, check it out in IMAX or VistaVision. Believe me, it’s well worth it for that chase scene alone.

SPOILER WARNING FOR ONE BATTLE AFTER ANOTHER

Aside from Stanley Kubrick, Paul Thomas Anderson is my favorite director. And, up until I saw One Battle After Another (which we gave a five-star review), I thought I had his number.

But, no. I most certainly did not have Mr. Anderson’s number. Because even though I've loved every PTA film (especially Licorice Pizza, which I had to warm up to, but now adore), I really didn’t know what I thought of One Battle After Another while I was watching it. That's because this movie is an action thriller, and PTA does not do action thrillers.

However, now that I’ve actually had time to sit with the film, I think PTA should make even more thrillers, and for a number of reasons. Here are just a few.

Paul Thomas Anderson Actually Does A Really Good Job Of Creating Tense Moments

Now, I’ve always known that PTA can drum up the tension when he wants to, as he’s exhibited this talent in films like Boogie Nights, Magnolia, and There Will Be Blood. Hell, he even did it in his very first film, Hard Eight, which some might view as a thriller, but I would categorize it more as a crime drama. So, tension for PTA is nothing new.

However, when I’ve always thought about PTA’s past flicks, tension was never the first word that came to mind. Wry-humored? Sure. Nostalgic? In many ways. Serious? You betcha! But suspenseful? No, that’s not a word that I would associate with PTA. Hitchcock? Of course, as that was his bread and butter. But PTA was not that kind of director.

That is, of course, not until One Battle After Another, since this movie is suspenseful (and tense!) as all hell. The story mostly concerns a drugged-out, middle-aged man named Bob Ferguson (Or “Ghetto” Pat Calhoun) (DiCaprio) who spent a lot of his youth making explosives and aiding a left-wing revolutionary group called French 75.

He fell in love with one of its members, named Perfidia Beverly Hills (Teyona Taylor), and eventually had a child with her (or so he thinks). As a dad myself, I can relate to losing all of the fire in your belly once you have children, since that’s exactly what happened to Ferguson: He had a kid, and settled down.

Which is where the tension comes in, since a corrupt military man named Col. Lockjaw (Sean Penn) has suspicions that Ferguson’s child, Willa (Played by an amazing Chase Infiniti) might actually…well, I’ll just leave it there, but what I will say is that Lockjaw disrupts Ferguson’s whole existence. And, Ferguson, whose mind isn’t what it used to be from years of drug abuse, needs to protect his daughter at all costs, and those moments are really riveting!

PTA Can Also Create Compelling Heroes And Villains

Honestly, if there’s any movie in PTA’s catalog that might be my least favorite, it’s Inherent Vice, which I think says more about my feelings toward Thomas Pynchon’s writing than it does about PTA’s directing (Even so, I definitely think you should watch it if you want to get into the director’s work). The characters just didn’t work for me, and I had a hard time determining who I should root for or detest.

However, PTA doesn’t have that problem with One Battle After Another, as it’s entirely clear who the good guy is (Ferguson), and who the bad guys are (Lockjaw, and the Christmas Adventurers, who I’ll get into later). This is actually interesting since One Battle After Another is also based on a Pynchon novel (this one, Vineland), but one I will assume is a more loose adaptation than Inherent Vice was. Anyway, when it comes to the other “good guys,” it's a bit harder to determine if they're actually good, which is compelling.

Benicio del Toro is certainly on the “good” team. He plays Willa's sensei, Sergio St. Carlos. HE's also a neighborhood leader who looks out for the people in his community. So, yes. A class act.

Willa is also on the good side, as she wants no involvement in the drama that comes her way. The rest of the “good characters” is where things get interesting, as I don’t necessarily think the members of the French 75 are “good.”

They’re destructive, and when it all comes down to it, they're no better than the disillusioned men in Fight Club (which you should definitely rewatch). It’s in this way that PTA can create compelling heroes and villains in tense situations, which is great. He should do it more often.

He Has A Knack For Using Humor To Make Even Ugly Material Digestible

Here’s the thing about One Battle After Another: Even though it deals with some serious subject matters, like sanctuary cities, military overreach, and white supremacy, it’s still really funny. This is one of the reasons why I often come to PTA’s films, as his sense of humor usually finds a way into his projects.

And, this is perhaps the one aspect of Vineland that I think might have seeped into this loose adaptation, since the stoner comedy in Inherent Vice finds its way into this story as well. However, the humor in this film is really important, because without it, some of OBAA would be a bit hard to stomach.

Case in point, the Christmas Adventurers Club, which consists of white supremacists who secretly run the country. They are looking to recruit Sean Penn’s character with the assumption that his blood is “pure” and that he hasn’t had any relations with any non-white women.

Now, this is icky on multiple levels, and I know white nationalists exist (and possibly in high positions), but PTA gets a ton of humor out of them by making their beliefs seem comical and wrong.

This is important, especially in a thriller, since 1. These characters do pose an incredible threat to our protagonists, and 2. It's important that PTA makes it clear that there is nothing to admire or like about white supremacy, thus making them villains that you're happy to see get taken down. But, I don't know if any of this would work if the movie didn't have PTA's particular brand of humor.

Lastly, He's Also Excellent At Putting Current Events In His Action Scenes

I’m going to be frank with you. I don’t particularly care to follow current events. In fact, I’d much rather pay attention to all of the upcoming horror movies coming out rather than, like, you know, news about tariffs, immigration, or government shutdowns. That said, “real” news is important, and if I'm going to have to absorb it, I'd prefer to do it in the form of a movie rather than on some dedicated TV network.

And, OBAA tackles many real-world issues, such as sanctuary cities. The movie takes an obvious side, but it presents it in a way that feels relevant to the plot (and feels thrilling at the same time).

Or, what about white nationalism? PTA works this into his action scenes in fascinating, exciting ways. All of these surprised me since I didn't know PTA had it in him to make a semi-political action thriller, but now that I know he does, I want more of it!

So, if you're reading this, PTA, please make another action thriller! You're really good at it!

Every so often, a costume choice becomes a character in and of itself. Jeff Bridges had The Dude’s bathrobe. Tony Soprano had his own robe. Now, Leonardo DiCaprio has joined the “dad robe hall of fame” in Paul Thomas Anderson’s new film, the critically acclaimed One Battle After Another. On that note, we now have some insight into how the plaid robe came to be in his 2025 movie release!

According to Variety, the faded plaid get-up wasn’t part of the plan. Costume designer Colleen Atwood revealed that Bob, DiCaprio’s revolutionary-turned-stoner-dad character, was initially supposed to just wear a sweatshirt. Then, in a very Dude-like turn of events, someone (maybe Anderson, maybe Leo) suggested, “What if he’s just in his robe?” The rest is cinematic loungewear history. Atwood explained to the outlet:

Additionally, DiCaprio leaned into the look reminiscent of one of the fit from one of the best movies of the ‘90s. At the film’s premiere, the Oscar winner even admitted his inspiration was none other than Bridges’ iconic Lebowski character, describing Bob as “a guy that sits home and smokes pot all the time.” In other words, The Dude abides… but now with a 2025 update.

Of course, the robe wasn’t the only part of Bob’s look. The whole vibe came together with a pair of sunglasses, a dad hat and sneakers DiCaprio apparently handpicked himself. Atwood says the Killers of the Flower Moon star preferred Altra Lone Peak trail runners because of their wide toe box. (Yes, even stoner dads in PT Anderson films need the proper footwear.)

The funny part? You won’t find this robe on any high-end designer rack. Atwood joked that if you want to cosplay Bob this Halloween:

This detail feels so quintessentially PTA, as he knows how to find beauty, humor and humanity in the faded corners of American life. The robe says as much about Bob as his dialogue does. He’s a man who once fought the system, and is now fighting inertia in his living room.

One Battle After Another, a book-to-screen adaptation of Thomas Pynchon’s Vineland, follows Bob, played by Leonardo DiCaprio, a burned-out former revolutionary who lives a paranoid life while trying to raise his independent daughter, Willa, away from the chaos of the world. When an old rival shows up and Willa goes missing, Bob is dragged back into the life he thought he left behind. This wild search forces both of them to deal with the mess from their past. This film is Paul Thomas Anderson's second crack at adapting a Pynchon story, the first being Inherent Vice in 2014.

The Dude and his lounge wear still resonate after more than 25 years, so DiCaprio’s not about to dethrone him as the king of robes, but it’s definitely going to give it a run for its money. So don’t be surprised if you leave the theater wanting to hit up a thrift shop to hunt for the ultimate plaid robe. One Battle After Another is being touted as one of the best movies of the year and is now in theaters, so check your local listings for showtimes.

All of Paul Thomas Anderson’s movies share in common a particular cinematic flair, and there is no denying his affection for the 1970s and/or Los Angeles as a backdrop, but he is a filmmaker who is nonetheless impossible to fit into a single box as a storyteller. His eclecticism has seen him bounce from tales of aspiring porn stars, to Adam Sandler-led romance, to oil prospector drama, to hippie-driven mystery. Each of his films feels like the writer/director taking on a big and new challenge to his craft. In that sense, One Battle After Another is both one of his grandest swings and one of his most spectacular successes.

The movie has the novel Vineland by Thomas Pynchon as its base (Anderson’s second time working from the author’s source material after 2014’s Inherent Vice), but with that book being unadaptable as a big screen story, the filmmaker carves out certain details and elements, alters major protagonists, antagonists and events, and forges an epic that is equally funny, dramatic and thrilling – an all-around blissful big screen experience. And on top of everything else, it delivers a revolutionary spirit that couldn’t possibly be more apt for our current political moment in the United States.

We meet our protagonist “Ghetto” Pat Calhoun (Leonardo DiCaprio) as he joins in with a far-left organization called the French 75 – which carries out missions liberating detained immigrants, attacking political offices, and sabotaging the power grid. Pat falls in love with the extreme and unpredictable Perfidia Beverly Hills (Teyana Taylor), and the group has a successful run, but it all comes apart due to Perfidia’s relationship with the fascistic Steven J. Lockjaw (Sean Penn), whom she meets as a commanding officer at a detention center.

An affair between Perfidia and Lockjaw results in her becoming pregnant, but things go from bad to worse when she is captured after a botched bank job. She agrees to flip on all the members of the French 75, and while she opts for escape to Mexico over witness protection, she forces all of her colleagues to go into hiding – including Pat and her young daughter, Charlene.

Sixteen years later, Pat and Charlene have transformed into Bob and Willa Ferguson (Chase Infiniti), the former having become a stoner burnout who parents through paranoia but has raised a smart and capable daughter. They live a normal life in the community of Baktan Cross, but everything goes to hell with the return of Steven Lockjaw – who is in consideration to join the exclusive white supremacist group known as the Christmas Adventurers Club and needs to silence any discussion that he has a biracial love child.

One Battle After Another has a powerful statement to make amid some wonderful goofiness.

If you picked up on the contrasting tones of “liberating detained immigrants” and the existence of an organization that calls itself the Christmas Adventures Club, congratulations, because you have picked up on a sample of what makes One Battle After Another such a wonderful and unique work. In less capable hands, a movie juggling these kinds of elements would suffer an identity crisis, undercutting its own messaging and leaving the audience unclear what they are watching, but Paul Thomas Anderson has made a film that is able to be both super goofy and insightful.

When Steven Lockjaw sets his sights on Baktan Cross, a dual narrative is born, made to diverge before eventually colliding. Willa, who is at a school dance when shit starts to hit the fan, is whisked away to safety by Deandra (Regina Hall), a French 75 member who has gotten wind of new moves against the group, and through their journey of escape, the young girl grows to understand the meaning of the fight and some devastating truths about her parentage.

Meanwhile, Bob, who has spent years successfully waging war on his own brain cells, has to gather together what shreds of competency he retains to try and find Willa and protect her – though he fortunately has an ally in the mysterious Sensei Sergio St. Carlos (Benicio del Toro), who helps support the local immigrant community and shepherds the revolutionary on his mission. You can probably guess which side of the story has more of the laughs, but they are equally engaging and propulsive.

Everything is motivated by the character’s emotions and passion, from the fight against tyranny to the love between a father and daughter (providing all of the stakes that the film needs), and it’s executed with a satirical bent that allows it to be as funny as it is fascinating in its examination of modern America. It’s too fun to ever be heavy-handed or border on anything near preachy, and still powerful and smart.

Leonardo DiCaprio is the shining star of One Battle After Another, but Teyana Taylor is a powerful scene-stealer.

The film is a second crack at 21^st century satire for Leonardo DiCaprio following the swing-and-miss that is Adam McKay’s Don’t Look Up, but One Battle After Another is his opportunity to find his version of The Dude, and it’s a wild success. Pat is a key cog in the machine as the explosives expert of the French 75, but pot does some impressive damage to his focus and faculties and it’s a trip seeing DiCaprio belly crawl on mats beneath the large windows of a dojo, bicker on the phone with a comrade because he can’t recall all of his code phrases, and (unsuccessfully) leap across rooftops.

There are no weak links in the chain across the ensemble cast, but it has its standouts. Benicio del Toro offers a perfect contrasting energy to what DiCaprio is doing, with Sensei St. Carlos ever-offering an air of calm capability, and Sean Penn effectively turns Lockjaw into a horrible-yet-unstoppable force. But if there’s any complaint to be offered, it’s that the story ultimately gives us so little of Teyana Taylor's Perfidia Beverly Hills, as the actress is utterly electric on screen and the character is a force from which you can’t turn away.

Without question, Paul Thomas Anderson has made one of the best movies of 2025.

To go along with the mix of drama and comedy is a hefty dose of action unlike anything we’ve seen before from Paul Thomas Anderson, and the filmmaker’s 1970s sensibilities mesh spectacularly with the thrills – from the opening sequence with the French 75 in action, to the raid that sees Bob quickly forced to evacuate his home, to a heart-racing car chase that climaxes with explosive cleverness. Anderson’s propensity to lead the audience with an unblinking eye envelopes you in the movie’s dense and authentic world, and sequences (like Bob’s hectic journey behind the scenes of Sensei Sergio St. Carlos’ operation) are simply jaw-dropping.

This is a passion project that Paul Thomas Anderson has been wanting to make for a while, and it’s incredible passion well-applied. The scope and tone is to be marveled at, and it’s both fun and emotionally fulfilling. One will be hard pressed to find a richer time at the movies than One Battle After Another in 2025, and it’s unquestionably one of the best films of the year.

Paul Thomas Anderson is a celebrated filmmaker with double-digit Academy Award nominations for movies like There Will Be Blood and Licorice Pizza. Whether you’re just getting into Anderson’s collection or have seen all of his best movies, there’s a new project hitting the 2025 movie calendar. One Battle After Another is an epic action thriller with an impressive cast, and critics are here to share their thoughts ahead of its September 26 release.

Leonardo DiCaprio stars in One Battle After Another as an ex-revolutionary who must reunite with his former colleagues to rescue his daughter from a corrupt military official (Sean Penn). The film also stars Benicio del Toro, Regina Hall, Teyana Taylor and more. Steven Spielberg gave his stamp of approval, but what about the other critics? IndieWire’s David Ehrlich gives it an A, writing:

Adam Nayman of The Ringer says One Battle After Another is the director at his best, agreeing with Leonardo DiCaprio and Benicio Del Toro that this should win Paul Thomas Anderson his first Academy Award. Nayman writes:

Richard Lawson of THR calls the film “bracingly timely,” as the story boldly addresses the political “nightmare” we face today and speaks directly to the audience about how we must help each other. The critic says:

Owen Gleiberman of Variety knows the descriptions of One Battle After Another sound aggressively dystopian — like an over-the-top satirical warning of where the world is today and where it might be heading. However, he continues:

Brian Tallerico of RogerEbert.com points out that while Vineland by Thomas Pynchon was set in the 1980s, PTA’s loosely interpreted book-to-screen adaptation will read as 2020s political commentary because of the story’s timelessness. Tallerico rates the film a perfect 4 out of 4 stars and says:

Critics across the board agree with the above reviews, with One Battle After Another being declared Certified Fresh with a 98% Rotten Tomatoes score from more than 160 submissions. If you want to see the latest project from Paul Thomas Anderson and decide for yourself if you think it’s award-worthy, you can do so starting Friday, September 26.

The Mission: Impossible franchise might not be entirely over; it’s virtually a guarantee we’ll see another movie at some point, but the one thing we know with some certainty is that any future movies will not include Tom Cruise. That means no other great collaborations with great directors from Briand DePalma to John Woo to Christopher McQuarrie.

It also means that new collaborations between Cruise and other great directors will never happen, which, as it turns out, is the real travesty, because apparently, Cruise’s Magnolia director, Paul Thomas Anderson, would have loved to direct Cruise in a Mission: Impossible film. He tells Le Figaro (translated from French via The Playlist)...

Hang on, wait a damn minute. Are you telling me that if somebody had just made a phone call, we could have gotten a Mission: Impossible movie starring Tom Cruise and directed by Paul Thomas Anderson? I’m going to need Cruise to unretire from playing Ethan Hunt right now so that we can make this happen.

If there was a fault in the fact that the last four Mission: Impossible movies were directed by the same man, and it’s a fault even the man himself, Christopher McQuarrie, recognized, it’s that every other Mission: Impossible movie had a different director, which gave each movie its own unique identity. The main character was the same, but everything else was different.

Not every movie was a winner, but each one certainly felt different. If you wanted to see Mission: Impossible as a psychological thriller, you had De Palma’s take on the original. John Woo made it a straight action movie with highly choreographed setpieces. J.J. Abrams created a mystery box in Mission: Impossible III that wasn’t fully opened until the final film in the franchise.

I would love to have seen Paul Thomas Anderson’s take on Mission: Impossible. It’s an admittedly odd pairing, but then that’s what’s so great about it. Knowing Anderson’s previous work, it likely would have been a more character-driven take on the material, but it could have been quite impressive to see such a major franchise done like that.

Considering the success of Mission: Impossible, it seems unlikely we won’t get another movie at some point, be it a sequel to Cruise’s movies with new characters or a complete franchise reboot. Maybe, if they do start over, they can go back to the old formula and let different directors put their stamp on Mission: Impossible. If that happens, will somebody please call Paul Thomas Anderson?

Leonardo DiCaprio’s latest character sounds less like an indestructible new action movie badass and more like a bathrobe-adjacent bumbler. On the red carpet, the Oscar winner explained that his performance in the upcoming 2025 movie release leans on a very specific pop-culture north star: Jeff Bridges’ “The Dude” from one of the best movies of the ‘90s, The Big Lebowski. Instead of a bulletproof bruiser, the Titanic star and director Paul Thomas Anderson aimed for a guy who’s perpetually off balance—physically and emotionally—and that choice instantly makes One Battle After Another feel different from the typical fall action showcase.

The comments come via a video posted to Variety’s X account, which caught DiCaprio discussing how Anderson pushed him toward a looser, failure-forward energy for the film’s set pieces. In the clip, you can see him grin as he connects the dots between PTA’s sensibility and the Coen Brothers’ all-time slacker, which is still resonating after more than 25 years. Then he spells it out:

That “series of failures” line is intriguing, for sure. Anderson has long loved watching glossy movie stars move like real people. So rather than stage invincible showdowns, One Battle After Another appears to build tension around near-misses and wipeouts. It’s comedy and character baked into the action, which tracks with PTA’s filmmaking sweet spots. DiCaprio also owned up to just how physical that approach became:

This is a cool shift for the Wolf of Wall Street performer. Over the last ten years or so, he’s mostly gone for those big, dramatic roles. But some of his best films let him play smaller, more relatable characters. With Anderson’s unique style and sense of humor, I think audiences can expect something really different.

One Battle After Another is set to tell the story of Bob (DiCaprio), a washed-up revolutionary marooned in stoned paranoia, who lives off-grid with his fiercely self-reliant daughter, Willa. When his old nemesis resurfaces and Willa disappears, Bob lurches back into the world he tried to escape, stumbling through a desperate search that forces both father and daughter to face the wreckage of their past choices. It's a loose book-to-screen adaptation of Thomas Pynchon’s Vineland, and is the second Pynchon novel PTA has adapted after Inherent Vice (2014).

Invoking The Big Lebowski is a clever choice. The film’s scenes focus less on perfect choreography and more on tone—specifically, how a character's perspective interacts with the world around them. If Paul Thomas Anderson’s latest movie takes a similar approach, we can expect moments filled with chaotic cause-and-effect. This makes perfect sense, as Anderson’s best movies often revolve around this concept.

Audiences can catch Leonardo DiCaprio calling on “The Dude’s” essence when One Battle After Another lands in theaters on September 26th.

Aside from Stanley Kubrick, Paul Thomas Anderson, referred to by many as PTA, is my favorite director.

I mean, the man just does not miss. With nine feature-length films under his belt, and his tenth film, One Battle After Another, coming in September, you’d be hard pressed to find another filmmaker who is as consistently great as PTA. That said, his oeuvre might be a little intimidating for the uninitiated.

That’s why, like my article for the film fan who wants to get into Kubrick, I thought I’d do the same thing for Anderson. So, for the film fan who wants to get into PTA's body of work, here’s where I think you should start.

You Want Comedy? You Want Drama? Then Let’s Start With Boogie Nights

While Boogie Nights isn't PTA’s first film, it’s the one that put him on the map. The story of a dishwasher who becomes a porn star, it's one part comedy, and two parts drama.

Mark Wahlberg stars as Eddie Adams, a.k.a. Dirk Diggler, who has an enormous penis. He gets into the porno industry, and we see his rise in the ‘70s (a decade that PTA would revisit in a film that I initially wrote off, Licorice Pizza), and decline in the ‘80s. While all of this is going on, we see different aspects of that industry, and the dark road some stars had to go down.

This is a great place to start if you want to get into PTA because it’s really accessible. It’s hilarious at times (I especially like John C. Reilly and Burt Reynolds), but it’s also quite tragic at times, too (Julianne Moore and Heather Graham give exceptionally good performances).

It also features Philip Seymour Hoffman in one of my favorite roles of his as Scotty, a boom operator who is in love with Wahlberg’s character. In short, it’s just got it all. I also think it’s a litmus test, because if you don’t like Boogie Nights, then you likely won’t enjoy a large percentage of PTA's films. I’m just talking facts.

It Might Not Be Easy To Find, But Try To Watch Hard Eight Next

Now, I know a lot of people might direct you to There Will Be Blood next (don’t worry, I’m getting there), but if you can find it, I’d recommend that you move on to PTA’s first film, Hard Eight, next.

Similar to directors like Tarantino, Mel Brooks, and David Lynch, PTA made a really good movie on his first try with Hard Eight.

Starring Philip Baker Hall, John C, Reilly, Gwyneth Paltrow, and Samuel L. Jackson (with a great Philip Seymour Hoffman cameo), this is a relatively small film about a gambler (Hall), who teaches a homeless man named John (Reilly) the ropes, and turns him into his protege. However, when John falls in love with a cocktail waitress (Paltrow) and befriends a seedy character (Jackson), things start to go downhill quickly.

It's just a damn good crime drama that may not be as lavish or epic as Casino, but I think that works in its favor. It’s a great character study, and it actually might be PTA’s most accessible movie he’s ever made. Remember, I’m trying to break you into PTA’s work nice and slow. But now, onto a biggy.

Magnolia Is Long, But It’s A Nice, Easy Next Step

Magnolia, which is PTA’s third film, was actually my introduction to the director. Like Scarface (the coolest gangster film ever) it was on two VHS tapes back in the day because this is one looong movie (it’s actually his longest at 188 minutes).

It’s also a great one. Starring a huge ensemble cast, which includes Tom Cruise, William H. Macy, and Melora Walters, just to name a few, the film feels pretty all over the place since characters have their own little stories, but it also ties together in the end.

The music is really something, and it’s said that Aimee Mann’s music inspired the script, which makes sense, given that a lot of the stories almost feel dreamlike in nature (especially when frogs start raining from the sky). My favorite of the interconnected stories involves Macy, who plays a former game show contestant who’s in love with a man with braces. Macy’s character also wants braces, hoping that it will start a relationship between the two.

Magnolia is a great next film since it’s epic in scope, but has a relatively easy to follow narrative that is another great gateway into the filmmaker's work. Now, I think it’s finally time for you to watch what is often considered PTA's magnum opus.

It’s A Big Departure From The Three Previous Films, But You’re Now Ready To Watch There Will Be Blood

Now, There Will Be Blood is not my favorite PTA film (that would be The Master), but I’m well aware that it’s considered his masterpiece.

For good reason, too. Starring Daniel Day Lewis in a towering performance as oil tycoon Daniel Plainview, There Will Be Blood very much feels like a fever dream in the best sort of way. Plainview, you see, is an uncompromising businessman. He will do anything within his power to become rich, even if it means funding a church that he doesn’t believe in just to appease the local religious folk.

But, Plainview’s greed clashes with the town’s preacher (played by Paul Dano), and the two feud with each other in a passive aggressive sort of way until the explosive ending. The film is a period piece, and it doesn’t feel like anything else in PTA's entire filmography.

This movie is epic in scope — even more so than Magnolia, if you can believe it — so I definitely didn’t want to start you off with it. It’s also such a magnificent film that some of his earlier work may seem…I guess small in comparison, which is why I waited on this one. However, it now opens you up to any one of his movies. That said…

Since One Battle After Another Is Inspired By A Thomas Pynchon Novel, Let’s Finish With Inherent Vice

I wouldn’t typically end on Inherent Vice because it’s actually my least favorite PTA film. The movies I’ve given you will likely take you some time to get through, though, so I thought I’d end on this one just in case you wanted to make his next movie, One Battle After Another, your sixth film of the famed director’s, since it’s coming out pretty soon.

Starring Joaquin Phoenix as a stoner private investigator, the plot starts off as a kidnapping case, but then goes all over the place. It's a bit hard to follow, but as somebody who has always wanted to get into Pynchon's often obfuscating books, I actually think Vice is probably the closest I'll ever get into one of his stories, since PTA makes it accessible.

The story of One Battle After Another is inspired by Pynchon's novel, Vineland, Vice might be the best lead-in to that film if it has a similar tone or vibe. PTA obviously has a love for Pynchon, so maybe close on this one.

Or not. Because honestly, now that you've cracked the PTA code, you can watch anything of his. Phantom Thread is a personal favorite of mine, and I adore Punch-Drunk Love. Wherever you go next, though, you can't go wrong. PTA is the best!

Paul Thomas Anderson's Magnolia features one of the best ensembles in modern cinema history... which is why it says a lot that Tom Cruise is unquestionably the highlight of the film. His performance as the hardcore Frank T.J. Mackey – from his hyper-masculine motivational speaking to his emotional breakdown at the side of his dying father's bed – is wholly remarkable to behold. The collaboration between Cruise and Anderson yielded incredible cinema magic, and the story behind how the character was crafted is both surprising and awesome.

Cruise recently did a career retrospective at the British Film Institute in London, and per Entertainment Weekly, he told a story about he completely changed not only the whole vibe of his Magnolia character but also rewrote his monologue teaching his paying customers to seduce women and "respect the cock." Cruise told the crowd that he wasn't a fan of Mackey's motivational speaking when he first started working on the role, and he invited Paul Thomas Anderson to his place for a showcase of his thoughts:

It's pretty bold for an actor to tell an acclaimed filmmaker that he has plans to totally upend their creative vision for a specific role... but I suppose that just speaks to the power of Tom Cruise.

When the two men had their meeting he Top Gun: Maverick star didn't just sit down with Paul Thomas Anderson and explain to him what he had in mind. Instead, he followed one of the golden rules of filmmaking: show, don't tell. Cruise took the stage in his personal screening room (because of course Tom Cruise has a personal screening room with a stage), and he managed to successfully blow the writer/director's mind with material that he had personally written. Said Cruise,

It's very easy to relate to Paul Thomas Anderson in this situation, as "What the fuck" can be described as my own reaction when I first saw Magnolia and witnessed Tom Cruise's extreme performance. Clearly the filmmaker knew that gold had been struck, and they proceeded to work together and craft the role that ultimately earned Cruise what was at the time his third Academy Award nomination.

Also starring Julianne Moore, Philip Seymour Hoffman, John C. Reilly, Philip Baker Hall, William H. Macy and many more, Magnolia is a modern classic and one of Paul Thomas Anderson's many masterpieces. While it's not presently available to stream on any subscription services, it can be found for digital rental/purchase from major retailers. And if you're looking for a newer Tom Cruise joint, Mission: Impossible - The Final Reckoning, featuring the star's last turn as super spy Ethan Hunt, is now playing in theaters everywhere.

When I ranked Paul Thomas Anderson’s movies, I of course put There Will Be Blood at number one, since I’m well aware that most people would consider it his best movie.

However, as much as I love that film (as well as Licorice Pizza, which I didn’t rank in my initial article), I still can’t say that it’s my favorite PTA movie. That distinction would have to go to 2012’s The Master, which I think is one of the greatest American movies ever made. 

I recently watched the film again for the umpteenth time, and I wanted to talk about why The Master will likely always be my favorite Paul Thomas Anderson movie. 

It Gets Very Deep Into The Process Of Belief, Which Is Something I'm Deeply Interested In 

Not too long ago, I wrote about the M. Night Shyamalan bomb, After Earth (which I actually like), and one thing that surprised me when I did research for that film was that a number of people thought it was “Scientology propaganda” at the time, which I just can’t see, no matter how hard I look. 

However, as somebody who is fascinated by the process of belief and would love to see an earnest, critical depiction of Scientology, The Master is a good substitute, as the storyline does take inspiration from the famous (or rather, infamous) religion.  

In this film, a returning World War II Navy veteran (Joaquin Phoenix) is struggling to make sense of the world that he’s returning to. Though I don’t think anybody would consider this to be one of the greatest war movies ever made, I would consider this, in a sense, to be a war film in the same way that I would consider one of the greatest war movies to ever win Best Picture, The Best Years of Our Lives, to be a war movie. Both films deal with the silent trauma of returning home to a world that no longer makes sense. 

I only bring this up because Phoenix’s character, Freddie Quell, is desperately yearning for direction and purpose, and he finds it in Philip Seymour Hoffman’s character, Lancaster Dodd, who is the head of a movement known as the Cause. 

Dodd is an enigmatic figure, and one who seems entirely personable and involved. The only issue is, he’s also a bit of a cult leader, and yet, Quell doesn’t see this. At first, at least. In fact, he struggles to understand where his place is within this movement, and whether it’s even legitimate or not. 

Quell is violent well before he meets up with Dodd, but he redirects that violence once he forms a personal relationship with Dodd, and is willing to get thrown in jail for him. In a lot of ways, we see a man who is tormented, not only to find a sense of identity, but also with whether he can find it in somebody else. That speaks volumes for how cults ultimately work. 

It’s a fascinating movie, and as a Christian myself (who rarely likes Christian movies), it’s an engrossing look into how certain people can fall so heavily into a form of faith.  

I Find Its Pacing And Storytelling To Be Hypnotic 

One of my favorite books of all time is Blood Meridian by Cormac McCarthy (which looks to be getting an adaptation, though we don’t know when). I love this story because it made me feel like I was going utterly insane while reading it. Every chapter was maddening, and Judge Holden is one of my favorite characters in all of literature. 

I reference this book since I get a similar feeling whenever I watch The Master. It’s one of the most hypnotic movies I’ve ever seen, and I find that I fall into a long, wonderful trance whenever I watch it. So much so that when Philip Seymour Hoffman sings “Slow Boat to China” toward the end of the film, I feel totally ensnared by the story, and it’s like he’s singing the song to me (which I’m sure was PTA’s intention). 

I also can’t pull my eyes away when Dodd puts Quell through “processing.”  It almost kind of makes me sick to my stomach the way Dodd breaks Quell down from being somebody who started the conversation smiling, to somebody who’s screaming, “I don’t know!” by the end of it.

I’ll tell you, There Will Be Blood is a wonderful movie, and Phantom Thread is deceptively brilliant, but no other PTA film resonates with me and shakes me by the shoulders like The Master. It goes right to my very core.  

These Are My Favorite Philip Seymour Hoffman And Joaquin Phoenix Performances 

I still miss Philip Seymour Hoffman. He was unforgettable. I’m a big fan of many of the roles you’d probably think of, like his performances in Boogie Nights, 25th Hour, The Talented Mr. Ripley, Doubt. You know, there are just so many to choose from. 

But, there’s no other role like Lancaster Dodd for me. The way he’s so domineering, and yet, so vulnerable. You can tell he’s speaking out of his ass, but he’s so confident that you start to believe him. The Cause is never entirely clear in this movie, but you can tell that it’s clear to him. He knows he wants power, and he finds susceptible people to follow him. 

When Dodd’s own son, Val, played by Jesse Plemons, doesn’t believe in what his father has to say, Quell criticizes him, but Val knows what’s up. He knows his dad’s a phony. The only thing is, Hoffman is such a great actor that we’re never really sure if Dodd knows that he’s a phony. 

And then, you have Joaquin Phoenix, who honestly should have gotten the Best Actor Award for this role. You feel so bad for him, but also scared of him. He’s got so much anger deep inside of him, and you know he’d probably be better off going to therapy than joining with Dodd, but that’s not what he does. Instead, he goes through things like processing, and lashes out at people who question his new faith. 

I didn’t even talk about Amy Adams, but she’s also magnificent. There’s just such great acting across the board in this movie, and some of the very best from two of my favorite actors of all time. What more could you possibly want? 

It's Also Has One Of My Favorite Soundtracks Of All Time 

Anybody who knows me knows that I hate Radiohead. I just find them supremely overrated, and I don’t understand why albums like Kid A, In Rainbows, or OK Computer are considered masterpieces. I mean, I’ve listened to them, and I don’t like them. 

That said, I think Radiohead guitarist Jonny Greenwood is an astounding composer. He did the scores for a number of PTA films, including There Will Be Blood, Inherent Vice, and Phantom Thread, which are all great (especially Phantom Thread’s), but I think his work on The Master is his crowning achievement. 

The soundtrack is just as mesmerizing as the movie, and I often find myself listening to it when I’m writing. My favorite song is “Able-Bodied Seamen,” which just lures me in every time I listen to it. It’s such a great, alluring soundtrack, and I love it to pieces.

Lastly, It Grows More And More Complex With Every Viewing  

I can’t overemphasize just how much I’ve analyzed this movie. There really doesn’t seem much to it at first, but then scenes just seem to overlap in my mind, and when I watch it again, I always discover something new. 

For example, the first time I watched it, I thought that Quell met Dodd much earlier in the film when he was taking pictures in the department store. But when I watched it a second time, I realized I was entirely incorrect (it’s actually W. Earl Brown). It made me think that PTA likely chose him because he sort of looks like Hoffman’s character in the movie, and Quell takes out his rage and anger on a man who looks like somebody he would later come to revere and defend. 

Also, I wonder who “The Master” even is in this movie. Yes, you would assume it’s Hoffman’s character, but toward the end, Dodd asks that if Quell can find a way to live without a master of some sort, then he is the superior man, which raises the question: Is this really a story about a cult leader, or is a tale of the duality of man wrestling with his sense of being in a society that totally ignores him? 

I honestly don’t know, but the more times I watch it, the more things I pick out with every single viewing. 

But, what do you think? Do you also love The Master? 

The directors on this list are among the greatest in the history of cinema, with films that are considered the best of all time; films that will never be forgotten. What about those movies they brought all their tremendous talents to, but which aren’t remembered as well? Here is our list of great movies, by great directors, that don’t get talked about enough these days. 

The Frighteners - Peter Jackson

The Frighteners is such a great movie, and it’s criminally underrated. No, it's not as sprawling or overwhelming as Peter Jackson's Lord of the Rings films, but it has all the heart and more. Michael J. Fox leads as a con man/exorcist who can see and interact with ghosts. The Frightners is really funny, well-paced, and delightful. 

The King Of Comedy - Martin Scorsese 

When you think of Martin Scorsese, “comedy” is not usually the first word that pops into your head, but The King Of Comedy is really a pretty great movie, and while it’s technically a comedy, it’s really dark. Goodfellas has some comedy in it, like Joe Pesci acting like a clown… but a true (dark) comedy? This Robert De Niro and Jerry Lewis-led film stands alone in Scorsese’s canon. 

Peggy Sue Got Married - Francis Ford Coppola

Peggy Sue Got Married is a deceptively simple film. Unlike Francis Ford Coppola’s more-talked-about epics like The Godfather films and Apocalypse Now, this film, starring Nicolas Cage and Kathleen Turner, is smaller, but that doesn’t mean it’s lesser. It’s a weird time-travel tale, but at its heart, it’s really a love story, and while it's not Coppola’s best work, it’s well worth a watch and should be talked about more often. 

Jackie Brown - Quentin Tarantino

Quentin Taratino has famously said that his next movie, his 10th, could be his last. Whether that holds true or not remains to be seen, but it’s a safe bet Jackie Brown will still be his least talked about.

Strange Days - Kathryn Bigelow

Kathryn Bigelow’s won Oscars (for The Hurt Locker) and she’s directed cult classics (Point Break). Strange Days is certainly closer to the latter. In it, Bigelow dabbles in science fiction, a rarity for her, but it’s unsurprising, as Strange Days was written by her then-husband James Cameron. It doesn’t have the iconic quotes that Point Break has, nor is it as white-knuckle as The Hurt Locker, but it is a great time capsule to filmmaking in the mid-90s and well worth remembering. 

Amistad - Steven Spielberg

Wedged between The Lost World: Jurassic Park and Saving Private Ryan in Steven Spielberg’s filmography, is Amistad. It’s easy to understand why this powerful historical drama revolving around a landmark court case regarding the slave trade is overlooked, but it shouldn’t be. It’s a moving story, told expertly as only Spielberg can, with a monster cast including Matthew McConaughey, Anthony Hopkins, Morgan Freeman, and Djimon Hounsou, among many others. 

Clockers - Spike Lee

Let’s be clear here, Clockers is not Spike Lee’s finest work. It doesn’t reach the heights of movies like Do The Right Thing or Malcolm X, but it's still a really good movie. It gets lost in Lee’s stellar filmography, which is understandable. It’s also a testament to just how good Lee’s career has been. 

Talk Radio - Oliver Stone

Talk Radio has everything you expect from an Oliver Stone movie. Its pacing and storytelling are perfect, it’s a fascinating and terrifying story that pulls from the real-world events of a murdered radio show host. It also has a healthy dose of conspiracy, as any great Stone film does. 

The Bling Ring - Sofia Coppola

Sofia Coppola’s The Bling Ring is a meta-tastic heist film that is not only a ton of fun to watch with celebrity cameos and great acting performances, but it also touches on some of the emerging trends that exploded in the years after the movie came out, notably influencer culture. It’s too often overlooked in Coppola’s stellar filmography. 

The Game - David Fincher

David Fincher is a master, and his filmography is full of great movies, like Se7en and Fight Club. The movie he made between those two classic is The Game with Sean Penn and Michael Douglas. Understandably, it’s overshadowed, but it’s an amazing film that is every bit as good as those two more talked-about movies. Even when people watch Fincher’s whole body of work, The Game gets overlooked and it shouldn’t. 

Casualties Of War - Brian De Palma

Casualties of War was released in 1989, which was the tail end of a slew of excellent Vietnam War movies released in the late ‘80s, like Platoon, Full Metal Jacket, and Hamburger Hill. Despite earning well-deserved praise from critics, the Brian De Palma film bombed, and as such, it's unfortunately one of the director’s least talked about movies when it should be one of the most. 

Matchstick Men - Ridley Scott

Usually, when movie fans talk about Ridley Scott, it’s his sprawling historical epics like Gladiator or Napoleon that dominate the conversation, along with sci-fi classics like Alien and Blade Runner. Matchstick Men is a smaller movie, a dark comedy about a con man with a myriad of personal problems played by Nicolas Cage. It’s a wonderful performance by Cage, and despite not performing well at the box office, it’s been well-reviewed over the years.

Inherent Vice - Paul Thomas Anderson

Inherent Vice from Paul Thomas Anderson is a complicated movie, based on a complicated book by Thomas Pinchon. It’s easy to understand why it’s not as talked about as some of Anderson’s other movies, like There Will Be Blood and Boogie Nights, but it’s every bit as good as those, featuring great acting performances and wonderful cinematography. 

Out Of Sight - Steven Soderbergh

Steven Soderberg is known for stylish filming techniques with snappy dialog and interesting plot twists. It’s all right there in Out Of Sight, but the movie still gets overlooked. It was Soderbergh’s first big-budget film, and maybe that’s why it doesn’t get talked about enough. It was also his first collaboration with George Clooney, which makes it even more confounding that it’s not more popular. 

Barry Lyndon - Stanley Kubrick

It’s hard to really argue that any of Stanley Kubrick’s films are not talked about enough, but Barry Lyndon comes the closest here. It’s most revered for its cinematography, but it’s also a wonderful story. While it doesn’t have the panache of A Clockwork Orange or the scope of 2001: A Space Odyssey, it’s still a Kubrick film and it’s one of the best ever made. 

Stardust - Matthew Vaughn

Matthew Vaughn has quietly put together one of the finest resumes in Hollywood. The Kingsman movies are a hot franchise, he’s dabbled in Marvel, and may have inspired the choice of Daniel Craig as James Bond after directing him in Layer Cake. Stardust seems to get lost in the shuffle, but it’s maybe, low key, his best film. 

Ryan's Daughter - David Lean

David Lean is rightfully most remembered for three films, The Bridge on the River Kwai, Lawrence of Arabia, and Doctor Zhivago. Lost in the discussion of those films is Ryan’s Daughter, a retelling of Madame Bovary set at the end of World War I. It was the last film Lean directed for 14 years and we can only wonder what he might have done had he not semi-retired. 

Fantastic Mr. Fox - Wes Anderson

Wes Anderson has developed one of the most distinct styles in film history, which translates brilliantly to animation, as well. Anderson’s first foray into the genre was Fantastic Mr. Fox, starring George Clooney, Meryl Streep, and Bill Murray, among others. While it may never outshine his live-action classics, it should be discussed more as one of his best works. 

Bound - The Wachowskis

The DNA of the Wachowskis is very evident in Bound, their first movie. It was made on a shoestring budget, so it doesn’t have the over-the-top effects of The Matrix series, but you can see where they were headed in their filmmaking. 

Intolerable Cruelty - Coen Brothers

When you have a filmography like the Coen Brothers, inevitably, some of the movies won’t get talked about as much as others. Intolerable Cruelty is one of those that gets lost in the mix, behind movies like The Big Lebowski and others that are among the best movies of the ‘90s and beyond. 

Insomnia - Christopher Nolan

Christopher Nolan is among the most beloved directors of the 21st century, creating what feels like independent films, but with monster budgets. That DNA was on display early in his career with Insomnia, which has everything you’d expect from a Nolan movie, but with less than half the budget of Oppenheimer. 

The Fan - Tony Scott

There are few better action directors in Hollywood history than Tony Scott. Most remembered today for classics like Top Gun, and Days of Thunder, The Fan should be talked about more. It’s not a perfect movie, but De Niro’s performance is terrifying (in a great way) as a baseball fan obsessed with Wesley Snipes' character. It’s action horror, and it’s great. 

Vincent And Theo - Robert Altman

Robert Altman had one of the most up-and-down careers in Hollywood history. After a string of successes in the ‘80s, his career was almost sunk by Popeye. It took years for him to rebound, but he did with Vincent & Theo. That led to a career revival, but it’s hardly remembered anymore, overshadowed by his early and later films. 

She's Having A Baby - John Hughes

One of the biggest reasons John Hughes is so loved by people who came of age in the ‘80s and ‘90s was his ability to write and direct genuine teenage characters. That extended to a young married couple starting their lives together in She’s Having A Baby. It’s not as quotable as some of Hughes’ other movies, but it’s still sharply written and a fun watch. 

Only The Lonely - Chris Columbus

Chris Columbus has some directed some huge films in his career, most notably Home Alone and Harry Potter And The Sorcerer’s Stone. He's also got movies like Mrs. Doubtfire and Adventures in Babysitting on his resume. One film that is not talked about enough is Only The Lonely starring John Candy as a man looking for a wife, but dealing with a controlling mother. 

Beowulf - Robert Zemeckis

Generations of high schoolers have been confounded and frustrated by Beowulf. Some love the old English classic, but many hate it. It takes a bold director to take it on as a movie. Robert Zemeckis makes it work, and work well. Still, given the material, it’s not a surprise it’s not talked about as much as Zemeckis’ more popular movies like Back to the Future. 

Great Expectations - Alfonso Cuaron

Director Alfonso Cuaron has made some of the best movies of the last 20 years, including Roma, Gravity, and Y tu mamá también. One of his films that doesn’t get talked about much anymore is 1998’s Great Expectations starring Gwenyth Paltrow and Ethan Hawke. It’s a bold modernization of the classic Dickens novel that can be polarizing, but still worth talking about more.

Ed Wood - Tim Burton

Of all the movies Tim Burton has made, it’s unsurprising that Ed Wood is one of his least discussed. It’s a love letter to legendary B-Movie director Ed Wood, and despite being filled to the brim with great performances, it's not as popular as many of Burton’s other works. 

Midnight In The Garden Of Good And Evil - Clint Eastwood

Midnight in the Garden of Good and Evil is not exactly the kind of film you might expect from Clint Eastwood, but you should. Some of his best work is when he strays away from the tough guy movies he’s so well known for and this is a great one, starring John Cusack and Kevin Spacey. 

Away We Go - Sam Mendes

Sam Mendes is best known for movies that cover heavy topics, movies like American Beauty, 1917, and Road to Perdition. That's probably the reason 2009's Away We Go with John Krasinski and Maya Rudolph isn't talked about as much, but it's a sweet movie about a couple dealing with major changes in their life and how to handle them. 

Sleepers - Barry Levinson

Sleepers is a dark, dark film. It's also really, really good. With an all-star cast that includes Brad Pitt, Dustin Hoffman, Robert De Niro, Kevin Bacon, and many more, it's surprising it doesn't get talked about as much as some of director Barry Levinson's other work, but given the subject matter, it can be a very hard watch.  

High Anxiety - Mel Brooks

Mel Brooks is a living legend and his filmography is filled with some of the most quotable movies of all time. One that doesn't get quoted much, or even talked about much, is High Anxiety. It was, believe it or not, the first time Mel Brooks also played the lead in one of his movies, so that alone should garner more attention. 

Great directors usually have long filmographies, so it's only natural that some of their finest work would be talked about less than their most groundbreaking or biggest films. That said, many movies should be talked about as much as those classics, but aren't. Here's to that changing now! 

The Safdie Brothers may be splitting up — yes, that means that anticipated follow-up to Uncut Gems is likely not happening — but that doesn't mean Benny and Josh can't still bond over their shared fascination for Tom Cruise and Paul Thomas Anderson's Magnolia. 

The sibling directors joined fellow filmmaker Paul Thomas Anderson on the A24 Podcast, where they detailed how as teenagers they came across an in-faux-mercial starring Cruise as Frank T.J. Mackey, his pick-up artist character from one of the best Tom Cruise movies, the 1999 drama Magnolia. As Benny Safdie told Anderson: 

The fake commercial clip shows the movie star as "master of the muffin" Frank T.J. Mackey from Magnolia, one of PTA's iconic films, flanked in bed by scantily clad women. Per the joking video, the motivational Mackey will teach you "how to have any hard-bodied blonde just dripping to wet your dock" with the help of his The Seduce and Destroy System and audio cassette, available at the "low introductory rate" of $29.95 (plus shipping and handling, of course.) 

Upon the Safdies' inquiries, Anderson admitted that the "cool marketing" ploy was his idea to promote Magnolia, which he wrote, directed and co-produced. Ultimately, the film was well-recived and Cruise went on to earn an Oscar nod for Best Supporting Actor for the iconic character, and he took home the trophy in the same category at the Golden Globes in 2000. 

And clearly the marketing ploy worked too, because Benny revealed that he ended up calling the number from the infomercial (1-877-TAME-HER, naturally), which prompted a voice recording from Cruise himself. 

Anderson, who noted that he first met Cruise as well as his co-star and then-wife Nicole Kidman on the set of Stanley Kubrick's Eyes Wide Shut, added that he would listen to the messages that people left at the fake infomercial number. This included one caller who was seemingly shocked to see where Cruise's career had taken him:

Given how dedicated Cruise is to his performances (this is a man who rode a motorcycle off a cliff for a movie, remember?) the Seduce and Destroy System commercial is very on-brand for the actor. And clearly, it fooled more than a few TV viewers — Safdie Brothers included!

Ahead of the fall movie season set to bring audiences big horror movies and award-worthy films, we have to talk about how big of a surprise Oppenheimer was for the 2023 summer box office. In a major twist, Christopher Nolan’s three-hour biopic about the father of the atomic bomb has made over $900 million worldwide, becoming the third biggest hit of the year right now, behind Barbie and The Super Mario Bros. Movie’s billion dollar+ hauls. Its success is blowing away beloved filmmakers like Denis Villeneuve and Paul Thomas Anderson, and those two recently talked about it. 

Given Oppenheimer's success, one would think the historical figure was a Marvel superhero or something. How incredible is it that a non-franchise film beat out Guardians of the Galaxy Vol. 3, Fast X, Spider-Man: Across the Spider-Verse, Disney’s The Little Mermaid remake, and even bested Tom Cruise’s stunt-heavy Mission: Impossible film? It’s a rather wild turn of events, and Dune filmmaker Villeneuve recently shared these words after calling the movie “a masterpiece”:

Christopher Nolan’s Oppenheimer success really surprised Villeneuve, who told AP News he predicted it might be a hit, but never would have guessed all the wild stats the movie earned. For example, the movie is now the highest-grossing biopic of all time, along with being Nolan’s third highest-grossing movie yet, behind the two Dark Knight sequels. Villeneuve is gearing up for his sci-fi sequel to 2021’s Dune to be among the upcoming 2024 movies. 

There Will Be Blood director Paul Thomas Anderson also weighed in on the monumental box office smash. In his words: 

Anderson commented on the huge success of Oppenheimer, very much aided by IMAX and IMAX 70mm screenings, (which earned an extended run due to demand), as “nature’s way of healing.” With big Hollywood movies existing on streaming at home more than ever, Oppenheimer’s numbers certainly signal a huge demand for theatrical releases for original films that are shot on film and have a distinct vision like Nolan’s. It goes to show the streaming era doesn’t necessarily mean there’s not a bright future for filmmakers like Villeneuve and Anderson. 

Will Nolan’s Oppenheimer perhaps inspire these filmmakers, and more like them, to bring their movies to original works to big screens? Time will tell how the biopic affects the film industry moving forward, but the success is a beacon of hope for dramas and director-driven films of which Villeneuve and Anderson are taking note. 

Let's be real. Paul Thomas Anderson has never made a bad movie. In fact, when I ranked all of PTA's films, it was hard to figure out what would be number one, since I had a three-way-tie in my mind with Phantom Thread, The Master, and There Will Be Blood.    

That said, I definitely like some PTA films better than others. For example, even though I understand the appeal of something like Inherent Vice, I didn't enjoy it. That's kind of how I felt about Licorice Pizza when I originally saw it.  

However, it seems to have grown on me. So much so that I've since reevaluated the film, and now I think I actually really like it. Here are five reasons why.    

The Soundtrack Lives In My Mind Constantly 

A great movie soundtrack can stand on its own. If I can think back to some of my favorite soundtracks from the past few decades, like Reservoir Dogs, Garden State, and Guardians of the Galaxy, I can definitely recall just vibing to those albums in my car and completely ignoring the movie that they’re attached to.

But, an exceptional soundtrack is completely interlaced with the movie. What I mean is, if I hear a song that’s in the flick, my mind is instantly transported back to the movie, be it a scene, or a moment where the songs were super effective. I mentioned the Tarantino cult classic Reservoir Dogs before, and while I can definitely separate most of the soundtrack from the movie, the song that I will ALWAYS tie with it is “Little Green Bag” by the George Baker Selection. How can I not when the characters look so cool when that song starts playing?   

Well, all this is to say that when it comes to Licorice Pizza, I find that I keep getting transported back to the film whenever I hear certain songs I was already familiar with, such as “Let Me Roll It,” by Paul McCartney and Wings, “Peace Frog” by The Doors, and “Life On Mars?” by David Bowie. It doesn’t hurt that I listen to a lot of classic rock on my way to work, so I hear some of these songs quite regularly. 

But, the way they’re used in the film really makes me think back to the overall feeling I had while watching it. I was kind of put off by the movie at times on my first watch through, but when some of these songs hit, they really make me feel a certain way, and any movie that can make me think back to it fondly just by a few musical cues is definitely effective.      

It Feels Like No Other PTA Film...In A Good Way  

PTA is not my favorite director (that would be Stanley Kubrick), but if I’m going to make an American director Mount Rushmore, then PTA would definitely be up there alongside the aforementioned Kubrick, Scorsese, and Francis Ford Coppola. I mean, I just love his movies, and out of his nine feature-length films, I’d say that I’d consider six of them to be some of the greatest movies that I’ve ever seen in my entire life. 

So, what then, were the three movies that I was kind of iffy about on his resume? Well, that would be his directorial debut, Hard Eight, Inherent Vice, and, you guessed it, Licorice Pizza. Now, I don’t think any of those movies are bad, per se. In fact, I really admire Hard Eight for being as confident as it was for a directorial debut. But, when compared to towering movies like Magnolia, Boogie Nights, or There Will Be Blood, they just don’t stack up. 

Though I am reevaluating Licorice Pizza, I would still say that it doesn’t stack up with his greatest pictures. That said, what I really think I missed the first time around was just how different a PTA film this actually is. Unlike the rest of his filmography, it's more of a coming-of-age picture. We get a budding romance between two relatively young people (played by Alana Haim and Cooper Hoffman), and it all takes place in California’s San Fernando Valley in the ‘70s, which feels like a character in itself.     

And, you know what? Thinking back to the movie (which I do often because of its soundtrack), I really think I like how different this film feels. When considering one of my other favorite American directors, Tarantino, who didn’t quite make my Mount Rushmore, but was close, I love that he has such a varied filmography. When ranking Tarantino’s pictures, you get crime thrillers, a martial arts film, westerns, and a look back at Hollywood. 

I would say that Anderson’s filmography is a lot less varied than Tarantino’s, but it’s still super potent. That said, I think I now like how much Licorice Pizza stands out in Anderson’s career. It’s super different, but in a good way.    

That Said, I Now View It As A Companion Piece To Punch-Drunk Love 

2002’s Punch-Drunk Love is labeled as an absurdist romantic comedy-drama film, but honestly, I view it much more as just a drama. Adam Sandler, who should have been nominated for Uncut Gems for Best Actor and for this movie, plays a lonely man who falls in love with somebody he never expected. It feels dark, but there’s that hint of hope and levity in there that doesn’t really come up much in Anderson’s work, if I’m being completely honest.    

Then, you have Licorice Pizza, which may be Anderson’s cheeriest picture to date. The two films have a completely different tone, but because both films are about unlikely romances, I kind of now mentally lump them together. 

In fact, when I watch this a third time, which I intend to, I’m going to clear out some space in my day and try to do a double feature of it and Punch-Drunk Love. There is definitely a hidden loneliness to Cooper Hoffman’s character, Gary Valentine, but he just hides it better than Sandler’s character, Barry Egan. And now, I see that. I just didn’t see it the first time around.  

Cooper Hoffman's Performance Really Lingers With Me 

The first time I watched this movie, it took me about halfway through before I took out my phone and searched the actors, and that’s when my eyes widened. Wait, this is Philip Seymour Hoffman’s son? I remember thinking. But, yep, in his film debut, we got the progeny of the late, great Philip Seymour Hoffman, and man, his performance still lingers with me.

It's the quiet moments, really. The moments where his character is eating burgers with his mom and sees the girl he likes going out with another guy, or when he runs to her when she falls off a motorcycle. It’s the moments when he’s the most vulnerable that really stick with me, because it really reminds me of his father. For all the loud performances Philip Seymour Hoffman had in movies like Hard Eight and Punch-Drunk Love, it was always the more understated performances, like the one in The Master that always resonated with me.      

That’s why I’m really glad that Philip Seymour Hoffman’s son ended up starring in Licorice Pizza. He’s both his old man, and his own man, and it’s fascinating to see in repeat viewings.    

I Love '70s Cinema, And I Don't Think I Can Think Of A Modern Movie That Feels More '70s Than This One  

Lastly, the ‘70s are my favorite decade of cinema, and I’m happy that PTA has dipped so heavily into that well. He did so with Boogie Nights and Inherent Vice, and did it again with Licorice Pizza. Boogie Nights explored the seedier sides of the ‘70s, and Inherent Vice explored the darker, more corrupt side, Licorice Pizza actually showcases the happier times. 

And, I love this! Through these three films, we really get an earnest portrayal of how the director saw his youth in that time period. I’ve always taken PTA for the serious Anderson (you know, as opposed to Paul W.S. Anderson and Wes Anderson), but this movie made me realize that he isn’t just a serious man. I mean, he is that, but he’s so much more. The man likes to have some fun, too!

Did you dislike Licorice Pizza when you initially saw it? If so, you might want to give it another shot like I did. For more news on all thing PTA, make sure to swing around here often! 

Warner Brothers Discovery is in the midst of making major cost-cutting changes at the network, which has resulted in layoffs and many shakeups to the conglomerate’s assets. This previously put Turner Classic Movies, a network that runs classic films, in jeopardy. When this news started circulating, Steven Spielberg, Martin Scorsese and Paul Thomas Anderson organized a meeting to convince executives of the network's viability. As a result, the three filmmakers will be more involved at TCM than ever. 

A recent report by Variety revealed that the efforts by the three auteurs were successful, with TCM remaining and Charlie Tabesh staying on as Head of Programming. Spielberg, Scorsese and PTA have also been tapped to curate content at the network, meaning the directors will be heavily involved in what classic films the channel runs. They will be working with Warner Bros. film heads Mike De Luca and Pam Abdy on the curation efforts The filmmakers issued a joint statement, where they said:

This was all driven by outrage over the possibility of the network becoming defunct after the heavy layoffs of TCM staff. TCM is a major curator of showing films that otherwise wouldn’t be shown, and a big promoter of classic cinema. Its disappearance would be a major blow to cinephiles everywhere. With names like Spielberg, Scorsese and PTA involved, hopefully it will help draw attention to the network, getting more eyes on the channel. All three are responsible for some of the most popular films of all time, like Jaws, Goodfellas and There Will be Blood.

The TCM drama hasn’t been the only high profile cost-cutting measure at WB. The company has been responsible for eliminating large chunks of original content from its streaming service, Max. It also scrapped the Batgirl film after it had already completed production, attracting criticism from fans. Shakeups at the network have also included a change of leadership at DC and green-lighting more franchise additions like additional Lord of the Rings movies and a Harry Potter television series. TCM may not have been an initial concern for WB, but it clearly was for the high-profile filmmakers who helped save the subsidiary. 

These three are the perfect minds to be responsible for curation at the network. They have been champions of the classics throughout their careers and big supporters of TCM. Anderson’s wife, SNL’s Maya Rudolph, once revealed that they have the movie channel on in their house constantly, and when Scorsese talks about his favorite films, he lists some fit-for-TCM titles like Fellini’s 8 ½ and Welles' Citizen Kane. Spielberg also referenced some of his classic influences in his self-titled HBO documentary. These are clear lovers of cinema, and them coming together as curators will be something truly special.

Turner Classic Movies is a network channel, so check your local listings find out how to watch the channel. TCM also has its own section on Max, so cinephiles can stream classics on demand with a Max subscription. Film fans should also check out our feature on some of our favorite classic films you will definitely love. 

With Oscar nominations right around the corner, CinemaBlend is taking a look at which films and performances are likely to be in contention for nominations. Let’s look at the Best Director race. 

Locked In

The director’s branch has dealt some brutal snubs in the past, but if there’s one candidate who is immune, it’s Jane Campion for The Power of the Dog. Her thoughtful, meticulous direction has earned her more critics awards than any director this season by far.

Denis Villeneuve is likely to find himself in the director race again with Dune. It’s perhaps the most stunning looking and sounding big budget film of the year, and one that will be supported with nominations in just about every tech category.

Paul Thomas Anderson solidified himself in this category after a DGA nomination for Licorice Pizza. The Academy was the only major awards body to nominate him for Phantom Thread, so it’s hard to imagine he’ll miss for his latest, which will easily show up in Best Picture and Original Screenplay as well.

Likely Bets

This branch of the Academy is no stranger to nominating directors from international films, even ones that don’t make the Best Picture lineup like Cold War and Another Round. Ryusuke Hamaguchi has a great shot at being that sort of nominee with Drive My Car. The film is a frontrunner in International Feature, and is one of the most acclaimed of the year. BAFTA nominations in Screenplay and Directing add a lot of confidence to this pick.

Nearly every year, this category produces a shocking snub or two. Should Hamaguchi make it in, it’ll likely be Steven Spielberg or Kenneth Branagh who misses. Films with strong visual craftsmanship excel here, so it’s baffling to imagine Spielberg missing for West Side Story. However, Spielberg isn’t always nominated alongside his films, and a weak performance from BAFTA makes me skeptical of his nomination. I think West Side Story is a weaker contender overall than Belfast, so shockingly, I am predicting Spielberg misses for Branagh and Hamaguchi. 

Dark Horses

Adam McKay seems likely on paper to be nominated for Don’t Look Up, but he hasn’t received support with precursors like DGA and Critics Choice the way he did for his previous two awards contenders. Guillermo del Toro and Joel Coen have certainly made some of the most eye-popping films of the year with Nightmare Alley and The Tragedy of Macbeth, respectively. However, their films are weaker contenders overall. 

Perhaps there’s another international contender we should consider like Julia Ducournau for Titane or Joachim Trier for The Worst Person in the World, but Hamaguchi is more likely to be that candidate.

You can check out our other category breakdowns for Lead Actor, Lead Actress, Supporting Actor, Supporting Actress, Original Screenplay and Adapted Screenplay.

Over the course of his near-half century career in movies, Denzel Washington has had the opportunity to work with some of the most talented filmmakers in the industry – including the immediate present, having just made The Tragedy Of Macbeth with Joel Coen. That being said, there are always more exciting visionaries with whom he can collaborate, and he actually has had discussions about working with some of them. But he’s not saying who.

I had the wonderful pleasure of interviewing Denzel Washington this week in advance of the streaming premiere of The Tragedy Of Macbeth – arriving on Apple TV+ – and I posed the question to him if there are specific directors with whom he hopes to work someday. The two-time Oscar-winning actor revealed that he definitely has a list that he keeps to himself, and that he’s had conversations about actually doing a project with a “couple” of them. Said Washington,

Intrigued, I followed up by asking if he could possibly drop one of their names – but he wasn’t eager to drop that information. Instead, he threw a challenge back at me, asking me to name five of the “best directors right now,” and he told me that he would let me know if I got any correct.

While my brain admittedly locked up picking a final name (specifically one with whom Denzel Washington hadn’t already worked), I listed four filmmakers whose movies I think stand above everyone else’s in the industry: Quentin Tarantino, Barry Jenkins, Paul Thomas Anderson, and Martin Scorsese.

True to his word, Washington told me that I did get a name right:

The idea of Denzel Washington making a movie with any of those directors is utterly fascinating, and since the interview I have thought deeply about the possibilities. While Paul Thomas Anderson is probably the least likely in the group, having just released Licorice Pizza at the end of last year, I can’t imagine there is a cinephile alive who wouldn’t be excited to see the actor team up with Quentin Tarantino, Barry Jenkins, or Martin Scorsese. Fans probably shouldn’t raise hopes too high, as conversations between actors and filmmakers frequently don’t end up resulting in projects that get made… but it couldn’t hurt for everyone to keep fingers crossed.

While we patiently wait to learn about the various projects that Denzel Washington makes in the coming years, audiences everywhere can view his latest film now. The Tragedy Of Macbeth is playing in select theaters and is streaming globally on Apple TV+.

Licorice Pizza, the latest offering from writer/director Paul Thomas Anderson, is missing one trademark element that is present in the majority of the filmmaker's movies: a performance from the late Philip Seymour Hoffman. The two worked together on many modern classics – including Boogie Nights, Magnolia, Punch-Drunk Love, and The Master – up until the Oscar-winning actor’s untimely death in 2014. However, one heartwarming element to come out of the terribly sad loss is that Philip Seymour Hoffman’s son, Cooper Hoffman, is upholding his father’s legacy with his own stellar performance in a PTA film.

Cooper Hoffman stars alongside Alana Haim in Licorice Pizza (alongside an all-star cast of cinematic talent) and one thing that the two performers shared in common is that it's their big screen debut. I recently spoke with Haim to discuss the project, and as a Philip Seymour Hoffman superfan, I couldn’t help but address how rewarding it is to see Cooper work with PT Anderson. According to the her, however, it has far less to do with legacy than I had initially assumed, as Cooper landed the role based on his own merit after an extensive audition process. She explained:

Continuing, Alana Haim added that coming from similar places and working together with Cooper Hoffman ultimately boosted their confidence in unison going into production:

While the fact that Cooper Hoffman has stepped in for his father to continue the storied history of Hoffman/Anderson collaboration is no doubt an amazing Hollywood story, Alana Haim wanted to be very clear that Cooper’s talent is what got him the part, not his father’s history with PTA. In a way, this makes the story more interesting, because like Haim said it’s a “universal thing” where he was always meant to play Gary. So we’ll chalk this one up to destiny.

To say that Hoffman simply “played” the part is an understatement: he shines in the role. He and Alana Haim are both nominated for Golden Globes for their performances, in addition to the two other nominations the film received. This is likely just the beginning of the accolades that will hopefully come the film’s way as awards season picks up.

You can catch Licorice Pizza already in theaters, and I highly suggest you check it out if you haven't caught it already. As for everything else coming down the pipeline after the upcoming New Year, we have you covered with our 2022 movie release calendar.

Paul Thomas Anderson is back with Licorice Pizza, a critically-acclaimed coming-of-age film about an unlikely romance in the San Fernando Valley in 1973. The movie stars the late Philip Seymour Hoffman’s son, Cooper Hoffman, and Haim band member Alana Haim in their debut acting roles. But there’s another person who made Licorice Pizza their first film role: Leonardo DiCaprio’s dad. Random, I know, bu wait until you’ve heard the story behind the role.

Leonardo DiCaprio and Paul Thomas Anderson haven't collaborated on a movie yet, so it's amazing that the Oscar-winning actor’s father, George DiCaprio, beat him to it. The old DiCaprio, a 78-year-old writer and publisher, has never delved into the Hollywood world like his son but, in Licorice Pizza, he plays the small role of Mr. Jack. The New York Times’ Kyle Buchanan took to Twitter to provide share part of his recent chat with Anderson, during which the director shed some light on the subject:

Licorice Pizza follows 15-year-old Gary Valentine (played by Cooper Hoffman) who meets Alana Haim’s Alana Kane, a 25-year-old photographer’s assistant. The pair begin a love affair that yes, includes the selling of waterbeds at some point. The filmmaker continued to tell the story, with a wild connection between George DiCaprio and his role: 

How did PTA know he’d correctly cast Leo’s dad into a profession he once had? I’d chalk it up to the filmmaker's eye for finding the right people to embody the roles he conjures up in his movies. For example, he chose two unknown actors to play the leads of Licorice Pizza and now each of them are receiving breakout praise. 

Funny enough, Leonardo DiCaprio has a movie of his own coming out on the same day as his father's. He’ll star in Adam McKay’s satire, Don’t Look Up alongside the likes of Jennifer Lawrence, Meryl Streep, Jonah Hill, Tyler Perry and Timothée Chalamet. (You can check out CinemaBlend’s review of Don’t Look Up ahead of its release). When celebrating the movie at its New York City premiere, he shared his reaction to ET: 

Licorice Pizza seems stuffed with interesting and offbeat industry picks. Bradley Cooper is portraying American film producer of the ‘70s Jon Peters, Steven Spielberg’s daughter, Sasha, has a small role as well as does Jack Nicholson’s son, Ray. These are deep cuts we wouldn’t have necessarily noticed prior. But now that you know, check out Licorice Pizza in theaters December 25 and see if you can spot George DiCaprio.

2021 was probably the worst year in the Golden Globes’ 77 year history. They were rightfully called out earlier this year for a total lack of Black members, as well as other unethical practices, resulting in NBC refusing to air their ceremony for 2022. 

The HFPA is currently in the process of making reforms to their organization, and has recruited 21 new members this year (their total prior was about 86). It was uncertain if the HFPA would even announce nominees and winners for the films of 2021, but on October 15th they confirmed they would hold a ceremony in some capacity, with nominations to be announced December 13th at 6 A.M. PST. 

A consequence of the chaos this year for prognosticators is that we don’t actually have confirmation on what films will be campaigned in comedy or musical, making predicting films like CODA much more difficult. So in my predictions below I’m also predicting category placements.

Motion Picture Drama

If Belfast, Dune, King Richard, and The Power of the Dog don’t all show up here, I’d be shocked. In my mind that leaves open one slot for a wildcard to sneak in. Part of the challenge predicting this year is that we don’t know which films will be slotted in comedy or drama. If CODA is in drama, I think it has a shot here. Despite underwhelming reviews, we shouldn’t underestimate Nightmare Alley or Being the Ricardos either. Spencer and The Tragedy of Macbeth could certainly contend, as could either of Ridley Scott’s films: House of Gucci and The Last Duel. Right now I’m hesitantly predicting CODA, but I expect to be swapping out this slot up until nomination morning.

Drama Actor

Will Smith (King Richard), Benedict Cumberbatch (The Power of the Dog), and Denzel Washington (The Tragedy of Macbeth) are near-locks in this category. The remaining two slots are tricky, as much of the competition they’ll face at the Oscars is on the comedy/musical side. Joaquin Phoenix has a shot for his understated performance in C’mon C’mon (assuming that’s in drama), and though it's a long shot, I wouldn’t be surprised to see Nicolas Cage sneak in for Pig. For now, I’m predicting Javier Bardem for his portrayal of Desi Arnaz in Being the Ricardos, and Bradley Cooper for Nightmare Alley.

Drama Actress

Don’t bet against these four: Kristen Stewart (Spencer), Jessica Chastain (The Eyes of Tammy Faye), Nicole Kidman (Being the Ricardos) and Lady Gaga (House of Gucci). As for that final slot, Penélope Cruz and Olivia Colman are certainly in the conversation for their roles in Parallel Mothers and The Lost Daughter respectively, but those films could be a little under the radar for the Globes. They love actors who play musical icons (see Andra Day’s shocking win last year), so I’m predicting they’ll nominate Jennifer Hudson for her portrayal of Aretha Franklin in Respect. 

Motion Picture Comedy / Musical

This was the best year for musicals in recent memory, and unlike some years, the Globes have plenty of riches to pick from in this category. West Side Story, Tick, tick… Boom!, Cyrano, and In the Heights all have a great shot to make it into this lineup. But they’ll be competing with comedies Licorice Pizza and Don’t Look Up. I expect the lineup will be pulled from these six films. In the Heights and Cyrano are probably the most vulnerable of the musicals. Though recency bias would favor Cyrano, I’m predicting it to miss, as it’s the least acclaimed the bunch. Or maybe both will show up at the expense of Don’t Look Up, whose divisive reactions could work against it.

Comedy / Musical Actor

There are four actors in this lineup that no one should be betting against: Andrew Garfield (Tick, tick… Boom!), Peter Dinklage (Cyrano), Leonardo DiCaprio (Don’t Look Up), and Anthony Ramos (In the Heights). The final slot is keeping me up at night. I would love for them to go with Simon Rex for Red Rocket, but that’s probably wishful thinking. I could honestly see them going for Ansel Elgort in West Side Story, but in a year where the organization is on thin ice, I think they’ll know better than to bring that sort of controversy their way. I’m perhaps optimistically going with Cooper Hoffman for Licorice Pizza. Although he is young and hasn’t been as seriously in the awards conversation as his co-star Alana Haim, it certainly helps that he is part of a bigger overall contender. 

Comedy / Musical Actress

The two no-brainers here are Alana Haim for Licorice Pizza and Rachel Zegler for West Side Story. I also expect Emma Stone may pretty easily get a nomination for Cruella, considering that things start to get a little thin beyond here. If CODA is in comedy, Emilia Jones will be nominated. And if Haley Bennett is lead for Cyrano, I’d say the same. If not, the most realistic options in my mind are Melissa Berrera (In the Heights), Jennifer Lawrence (Don’t Look Up), and Renate Reinsve (The Worst Person in the World). I am far too cynical to pick the latter, but I would jump for joy if it happened. I’m settling for Berrera and Lawrence for now.

Supporting Actor

I’m expecting both Ciaran Hinds and Jamie Dornan will make it in for Belfast and Belfast respectively. Jared Leto has a shot here for House of Gucci, especially considering he was surprise nominated for The Little Things last year. For the remaining two slots there are a lot of options. Jon Bernthal has a great shot at coat-tailing off of King Richard. And I’d love to see Robin de Jesus in for Tick, tick… Boom!, a film I expect they’ll adore. I’m predicting those two for now. Kodi Smit-McPhee has been garnering lots of critics awards, but I’m skeptical he’ll perform as well with certain major precursors. Troy Kotsur has been gaining steam for CODA, but like Yuh-Jung Youn or Paul Raci last year, he may be too unknown for the HFPA. I’m also watching out for Mike Faist (West Side Story), Bradley Cooper (Licorice Pizza), and Ben Affleck (The Tender Bar). Unfortunately I don’t have much hope for Jason Isaacs (Mass).

Supporting Actress

Four performances widely expected to be nominated here are Ariana Debose (West Side Story), Caitriona Balfe (Belfast), Aunjanue Ellis (King Richard), and Kirsten Dunst (The Power of the Dog). Fighting for that last slot we have Cate Blanchett (Nightmare Alley), Meryl Streep (Don’t Look Up), Ruth Negga (Passing), and Ann Dowd (Mass). I am also considering Rita Moreno for West Side Story. Though this is somewhat of a long shot, it could be a great moment for the Globes to pick a veteran all-star for what will likely be their favorite musical there. But considering how CODA seems like it’s starting to take off, I’m going with Marlee Matlin.

Director

The contenders who seem most likely here are Steven Spielberg (West Side Story), Kenneth Branagh (Belfast), Denis Villeneuve (Dune), and Jane Campion (The Power of the Dog). Many are predicting Paul Thomas Anderson for Licorice Pizza. I am skeptical. The director has never been nominated for a Golden Globe before. We can’t count out Adam McKay (Don’t Look Up), who was nominated for Vice and The Big Short. Nor should we underestimate Reinaldo Marcus Green (King Richard) or Guillermo del Toro (Nightmare Alley). However, I’m going with Lin Manuel Miranda for Tick, tick… Boom! Some would call this a long-shot, but I think the film is stronger than many are assuming and this feels like just the kind of celebrity actor-director nomination they’re notorious for embracing.

Screenplay

To make up for the director snub, I’m predicting Paul Thomas Anderson will land his first Golden Globe nomination in screenplay for Licorice Pizza. I also feel confident writer-directors Jane Campion and Kenneth Branagh will be nominated for their widely celebrated films. Despite Being the Ricardos’ lackluster reviews I cannot in good conscience underestimate 7-time nominee, 3-time winner Aaron Sorkin in this category. I’ve got my eye on Don’t Look Up here, as well as King Richard. But I feel the love for West Side Story will be so strong that Tony Kushner will take a nomination.

With the Golden Globe and Critics Choice Award nominations both taking place Monday the 13th, there will surely be a lot to discuss in terms of how it shapes the Oscar race. Check back here on Cinemablend for more awards analysis in the coming weeks.

These days, writer/director Paul Thomas Anderson has such a solid track record of quality films that he can cast just about whoever he wants, and the studios seem to give him an incredible amount of leeway. Case in point, his new film Licorice Pizza features huge names like Bradley Cooper, Sean Penn, and Maya Rudolph, all in supporting roles. Well, there was one actor in particular that newcomer Alana Haim was completely starstruck over, and it makes sense given their connection in the industry. 

Although she’s a Grammy-nominated musician, Alana Haim has never starred in a feature film. One can imagine that being around so much A-list Hollywood talent would be intimidating, but the encounter that was truly “jaw-dropping” for her was working with fellow musician-turned-actor, Tom Waits. She told us this:

So it’s not too surprising that it was a fellow musician who caught her attention, as he is also a very gifted actor in his own right. The “I Hope I Don’t Fall In Love With You” singer, with his trademark gravelly voice, has worked with such iconic filmmakers as the Coen brothers, Jim Jarmusch, Terry Gilliam, Martin McDonagh, and now, Paul Thomas Anderson. When speaking of his career trajectory and transition to acting, Alana Haim added, “that’s the dream.”

The fact that Alana Haim is leading a Paul Thomas Anderson film her first time out the gate is rather impressive. Her band Haim, which is made up of her and sisters Danielle and Esme Haim, has collaborated with him many times before. He’s directed a handful of their videos and even shot some of their album art. Check out one of their collaborations here:

Speaking of the Haim family, they’re all in the film. Not just the aforementioned sisters/bandmates, but also their parents Moti and Donna. They play Alana’s immediate family, likely some version of themselves, so it must not have been too terribly hard to fall into such a dynamic.

Licorice Pizza stars Haim alongside fellow newcomer Cooper Hoffman, son of the late Phillip Seymour Hoffman. Hoffman and Paul Thomas Anderson collaborated numerous times over the years, so watching Cooper uphold that legacy really is something special. The film is in select theaters now and releases worldwide on December 25. If you need some recommendations in the meantime, you can check them out here, and since we’re nearing the end of 2021, you may as well get a head start on next year.

Over the course of the past quarter-century, Paul Thomas Anderson has transformed himself from an up-and-coming director with a lot of potential to one of the most respected filmmakers in today’s Hollywood. Through PTA’s various movies like Boogie Nights, There Will Blood, and Magnolia, the Golden Globe-winning director has introduced audiences to characters that range from beautiful and pure, to detestable and fundamentally flawed, and stories that become immediately relatable.

Now it looks like that tradition will continue at least one more time with the release of Licorice Pizza, the long-awaited coming-of-age drama about young love and the pitfalls of fame, set in the seedy underbelly of 1970s Los Angeles. Below is everything there is to know about the acclaimed director’s first movie in nearly a half-decade, and based on what we’re about to break down, the wait is going to be more than worth it.

Licorice Pizza Is Set To Be Released Theatrically On November 26, 2021

Paul Thomas Anderson’s Licorice Pizza has been one of the most anticipated upcoming releases ever since the movie was first announced several years ago (even before it got his current and presumably final title), but we don’t have to wait all that much longer. When the Licorice Pizza trailer dropped in late September 2021, it was given a release date of November 26, 2021 (the day after Thanksgiving in case you were wondering), though its rollout will be limited and will only be showing in select theaters, per Deadline. According to Variety, the movie is slated to be released nationwide on December 25, 2021, making for an extremely busy Christmas Day at cinemas around the country.

The Star-Studded Licorice Pizza Cast Includes Alana Haim, Cooper Hoffman, Bradley Cooper And More

The list of actors who have appeared in Paul Thomas Anderson movies throughout the filmmaker’s career is one of the most impressive you can find, and the same can be said about the Licorice Pizza cast, which is bursting at the seams with talent. Anderson’s latest movie is led by Alana Haim, one of three members of the all-sister rock and roll outfit Haim, who will be taking on the role of Alana Kane, a young woman living in the San Fernando Valley at the center of the moving story. Playing opposite Haim is Cooper Hoffman, the son of PTA’s longtime collaborator, the late Philip Seymour Hoffman, who plays a young actor named Gary Valentine.

The Licorice Pizza supporting cast, which is impressive even for Paul Thomas Anderson’s standards, includes Bradley Cooper as famed movie producer (and Barbra Streisand’s ex-husband) Jon Peters, Benny Safdie as politician Joel Wachs, as well as Sean Penn, Maya Rudolph, Tom Waits, and Ben Stiller.

Licorice Pizza Is A Coming-Of-Age Story About Two Teenagers Falling In And Out Of Love In The San Fernando Valley In 1973

Paul Thomas Anderson will return to his storytelling playground of the San Fernando Valley with Licorice Pizza, this time in 1973, when he tells the story of Gary Valentine and Alana Haim, two teenagers falling in and out of love as their career aspirations begin to take off and introduce them to characters of various moral standings in the entertainment industry. This coming-of-age story will mark the fourth time the writer/director has used the valley to tell an emotionally-charged story. His previous San Fernando-centric dramas include Boogie Nights, Magnolia, and Punch Drunk Love.

Alana Haim, Making Her Acting Debut, Previously Worked With Paul Thomas Anderson For Multiple Music Videos

Alana Haim will make her acting debut when she takes on the role of Alana Kane in Licorice Pizza, but the musician has worked with Paul Thomas Anderson multiple times in the past on various music videos, per Rolling Stone. Dating back to the live video recording of Haim’s “Right Now” music video in 2017, Anderson (who, like numerous other successful filmmakers got his start directing music videos) has directed a total of nine Haim music videos, with the most recent being “Man From the Magazine” in 2020.

Originally Titled Soggy Bottom, Licorice Pizza Wrapped Production In November 2020

For the longest time, Paul Thomas Anderson’s upcoming movie was one of the biggest mysteries in Hollywood, so much so that the studio releasing it, Metro-Goldwyn-Mayer, didn’t really know anything about it during a CinemaCon presentation in August 2021. Even though most of the movie’s details were kept under wraps until September 2021, various outlets were following its production throughout the latter half of 2020, with the Film Stage reporting that production on the film (which was called Soggy Bottom at the time) had wrapped that November following a three-month shoot in and around the San Fernando Valley.

The Movie’s Title Comes From The Iconic Los Angeles Licorice Pizza Chain Of Record Stores

Just as Quentin Tarantino’s Once Upon a Time in Hollywood was a love letter to 1960s-era Hollywood, Paul Thomas Anderson’s Licorice Pizza will pay homage to the culture and lifestyle of the San Fernando Valley in the early 1970s. This can be seen in the setting and fashion shown off in the movie’s first trailer (more on that next), music choices, and even the film’s title itself, which comes from the beloved and influential chain of record stores that were all the rage in Los Angeles during the time in which the movie is set.

According to Los Angeles Magazine, Licorice Pizza (the music store, not the movie) was founded by James Greenwood in 1969 and grew to 34 locations in the Los Angeles area when it ceased operations. In March 1985, the chain was sold to Record Bar which itself was purchased one year later by Musicland, the chain of 400 stores that were then converted to Sam Goody record stores.

The Licorice Pizza Trailer Is Full Of Nostalgic Greatness And Performances Set To David Bowie’s ‘Life On Mars’

In late September 2021, MGM Studios surprised everyone with the debut of the first official Licorice Pizza trailer that finally showed off what Paul Thomas Anderson has been working on all this time. Set to David Bowie’s 1971 classic track, “Life On Mars,” the trailer gives you brief glimpses into the movie’s core characters, their motivations, and the painful life lessons they will learn on their respective journeys in personal and professional matters.

Playing on childhood nostalgia, young love, and making that transition from adolescence to adulthood (or at least teenagers’ perception of growing up), this beautiful and transfixing trailer will surely only make moviegoers even more excited to rush to their local theater this holiday season.

Expect to hear more about Licorice Pizza as we get closer to its November 26 release date. In the meantime, check out the schedule of 2021 new movie releases for all the latest on everything coming to theaters and streaming services in the final months of the year.

Writer/director Paul Thomas Anderson cemented himself as a Hollywood superstar with 1997’s Boogie Nights, a story of fame and youth colliding in the world of adult film. Almost a quarter of a century later, Anderson is returning to tell another tale of teen angst in the 1970s through his latest film Licorice Pizza. The movie stars Cooper Hoffman and Alana Haim, along with an all-star cast. It looks like Paul Thomas Anderson is going to deliver a tear jerker, thanks this bittersweet, yet really humorous, looking trailer.

After running the first trailer for Licorice Pizza, exclusively on 35mm at arthouse cinemas like the New Beverly Theater, the first look at this hotly anticipated project has finally hit the internet. The nucleus of the story is the romance between Gary (Cooper Hoffman) and Alana, two crazy kids in 1973’s San Fernando Valley, falling in and out of love. Comedic misadventure, high emotion, and a lesson on how to pronounce “Barbara Streisand” all ensue, flashing Paul Thomas Anderson’s passion for breaking the audience's heart, while also dropping quotable gags. Oh, and when we said "all-star cast," that was an understatement.

Formerly known throughout the internet by the title Soggy Bottom, this film is yet another example of the sort of impressive ensemble that Anderson has been known to pull together. Most notably we see Uncut Gems co-director Benny Safdie and Sean Penn pop up as some heavy hitters in the San Fernando scene. Plus there’s appearances from Maya Rudolph and Tom Waits that also pepper Licorice Pizza with even more impressive talent. Though if there’s one scene stealer among the group, it has to be Bradley Cooper, the man who’s giving Cooper Hoffman’s Gary the important elocution lesson pertaining to his music star girlfriend.

It’s Cooper and Safdie’s roles in particular that paint a certain texture to what Licorice Pizza is trying to do. Much like Kenneth Branagh has shown us with the trailer for his semi-autobiographical film Belfast, Paul Thomas Anderson looks to be telling a tale of nostalgic coming-of-age. Mixing real figures like film producer Jon Peters (Bradley Cooper) and San Fernando politician Joel Wachs (Benny Safdie) with our fictional protagonists, Licorice Pizza is also a love letter to that era that helped make Anderson famous.

Then again, you probably could have gleaned that from the confirmed title of Licorice Pizza. Not only a slang term for vinyl records, it was also the name of a famous chain of record stores in California. And nothing puts a button on that point quite like setting your trailer to David Bowie’s “Life On Mars?” which beautifully permeates the short reel of teenage confusion and romance we’ve now just seen.

Now MGM can breathe a sigh of relief, as Licorice Pizza is finally known to themselves, and the public at large. If you’re ready to take this tale for a spin, it looks like you can anticipate dropping that needle starting on November 26th. Though if there’s any sort of change up in release date status, or if you want to look for some other sounds more your speed, the 2021 release schedule will be able to assist you in that crucial matter.

Paul Thomas Anderson is easily one of the most acclaimed directors currently working in the film industry, and with that kind of significance comes a lot of anticipation for any of his upcoming projects. Unfortunately, there really isn’t a lot of information available about what the filmmaker has coming up next. He has made a new movie, and it’s currently dated for release in late November of this year, but we have yet to learn what the title is, and we haven’t seen a single frame. It’s a touch frustrating – but now it more qualifies as weird, as evidently even the studio backing the movie doesn’t seem to be wholly sure as to what’s going on with it.

MGM/United Artists held a presentation this morning at CinemaCon in Las Vegas, and it was expected that the majority of the focus would be on Cary Fukunaga's No Time To Die, there was also some hope that the event would shed some light on what Paul Thomas Anderson is presently working on. Michael De Luca and Pamela Abdy, who are respectively the chairman and the president of the motion picture group at the studio, delivered when it came to the James Bond action, but as for the new Anderson movie, De Luca only had this to say:

The update was delivered with a touch of jokey cadence, but one has to wonder if there isn’t at least a tiny bit of truth in it. The untitled Paul Thomas Anderson movie completed production late last year, and with the release date coming in about three months one has to assume that the film has finished footage to promote – and yet it’s a mystery that we walked away from MGM’s CinemaCon presentation knowing as much about it as we did going in. Given the clout that Anderson has developed over the course of his impressive career, it doesn’t seem totally impossible that he is keeping the studio at arm’s length as he constructs his vision, and at this point isn’t ready to share what he’s working on.

Paul Thomas Anderson's first film since 2017's Phantom Thread, the upcoming film features a cast that includes Bradley Cooper, Cooper Hoffman, Skyler Gisondo, Benny Safdie, and Joseph Cross. It's reportedly set in Los Angeles during the 1970s, and centers on the relationship between an up-and-coming actor and a veteran filmmaker.

The new movie is presently scheduled to get a limited release on November 26 before going nationwide on Christmas Day. When we do finally get a look at the new Paul Thomas Anderson and learn what it’s title is, you’ll find it here on CinemaBlend, and to discover all of the other titles set to be released in what remains of the year, check out our 2021 Movie Release Calendar.

Few actors have seen a monumental shift in their careers quite like Bradley Cooper. Over the course of a decade, The Hangover star went from being an affable supporting player in Wedding Crashers and Yes Man to one of the most acclaimed actors-turned-directors working in Hollywood today. Certainly, this transition didn't happen overnight, but the eight-time Oscar-nominated A-lister has demonstrated his exceptional dexterity time and time again, both in front and behind the camera.

Suffice it to say, Hollywood is eager to bank on that proven talent with a number of exciting 2021 movies, including the newest films from Guillermo Del Toro and Paul Thomas Anderson. Additionally, Bradley Cooper is expected to reprise his role as Rocket Racoon in upcoming Marvel movies like Thor: Love and Thunder and Guardians of the Galaxy 3, all while he gets the pieces in place for his long-awaited sophomore directorial feature.

Indeed, Bradley Cooper's star power only continues to grow, and we should expect a lot more great things from the celebrated superstar in the years to come. If you love the Oscar-nominated actor-director behind A Star is Born, here's what's coming up next!

Untitled Paul Thomas Anderson Movie - November 26th, 2021 (Post-Production)

It's safe to say that Paul Thomas Anderson is one of our finest working filmmakers. Whether you know him best as the writer-director behind Boogie Nights, Magnolia, There Will Be Blood, The Master, Punch-Drunk Love, or Phantom Thread, the Oscar-nominated auteur has made some of the best films of the past two decades, and he has fostered some of the finest film performances in that time, too. Particularly seen through his work with Daniel Day-Lewis, Joaquin Phoenix, Julianne Moore, John C. Reilly, Adam Sandler, Amy Adams, and the late, great Philip Seymour Hoffman, to name only a few stars who've worked with the revered storyteller, PTA has crafted some extraordinary films with incredible lead and supporting performances. Hopefully, that's also the case for Bradley Cooper, the headliner of Anderson's latest, still-untitled movie.

Details remain slim for this new film, which is reportedly called (or was previously titled) Soggy Bottom, but we know that it follows a high school student trying to become an actor in the '70s. Certainly, that synopsis will earn a few comparisons to Boogie Nights right off the bat. Bradley Cooper is expected to play a film director and producer. Not a lot is known about his character otherwise, however. What we do know, though, is that the movie will premiere on November 26th, followed by a wide release on Christmas. Given Paul Thomas Anderson's impressive winning streak, one can reasonably assume that Cooper is attached to another winner. Hopefully, that's proven true later this fall.

Nightmare Alley - December 3rd, 2021 (Post-Production)

Additionally, Bradley Cooper is also working with another modern master moviemaker. Specifically, Cooper stars in Nightmare Alley, the latest psychological thriller from co-writer/director Guillermo Del Toro. As the awaited follow-up to his Best Picture winner, The Shape of Water, the genre filmmaker has rounded up another exceptional starry cast, including Cate Blanchett, Toni Collette, Rooney Mara, Willem Dafoe, and Bradley Cooper. Based on the novel by William Lindsay Gresham, Nightmare Alley follows Stanton "Stan" Carlisle (Cooper), an ambitious carny who has the unnerving talent of manipulating people with only a few well-chosen words. He'll join forces with Dr. Lilith Ritter (Blanchett), a ruthless psychiatrist who proves to be quite a dangerous collaborator. Together, Stan and Dr. Ritter make an appropriately ... nightmarish pair.

Following a few 2020-related production delays, Nightmare Alley is officially finished filming and it's scheduled to be released on December 3rd, 2021. That puts the movie right smack dab in the middle of awards season, which should hopefully prove well for both Guillermo Del Toro and Bradley Cooper during this year's upcoming Oscar circus.

Thor: Love And Thunder - May 6th, 2022 (Post-Production)

We haven't seen the last of Rocket Racoon. As we saw in the last two Avengers movies, the loud-mouth intergalactic mammal has become close — but maybe not chummy — with the hammer-wielding demigod. Therefore, it's unsurprising to know that Bradley Cooper will likely reprise this comic character in next year's Thor: Love and Thunder.

While this casting information hasn't been officially confirmed by Marvel, ScreenRant claims that Bradley Cooper's scene-stealing character is sure to appear along with the rest of the Guardians of the Galaxy, which makes sense given where we last saw Thor in Avengers: Endgame. Recently, the superhero sequel wrapped production ahead of its May 6th, 2022 release date. Details remain selective (and obviously secretive) for the time being, but we'll learn more about the supersized blockbuster in the months ahead.

Guardians of the Galaxy Vol. 3 - May 5th, 2023 (Pre-Production)

Likewise, Rocket Racoon will soon return for Guardians of the Galaxy Vol. 3, the third (and likely final) installment in the Marvel series, which is scheduled for May 5th, 2023.

Not much is known about the story at the root of this comic book sequel, but all the main cast members, including Chris Pratt, Zoe Saldana, Dave Bautista, Karen Gillan, and Vin Diesel, are expected to reprise their roles. Similarly, Bradley Cooper is signed on to return to voice the smartass, space-based criminal furball once more. Once again written and directed by James Gunn, Guardians of the Galaxy Vol 3 is still a while away, particularly with The Suicide Squad arriving soon, but it's on the horizon. Reportedly in the early stages of pre-production, Gunn's latest comic book adaptation is expected to start shooting either later this year or early next year.

Maestro - TBA (Announced)

With 2018's A Star is Born, Bradley Cooper proved to be a triple threat, notably as he gave arguably his finest performance of his career (to date) in a movie that he also co-wrote and directed with commanding confidence, particularly for a first-time filmmaker. Hell, the movie proved that he's actually a quadruple threat; to top it all off, he can sing! Suffice to say, the Oscar-winning directorial debut is a tough act to follow, but Hollywood was understandably eager to get the A-list actor back in the director's chair. Thankfully, it looks like that might happen sooner rather than later with Maestro, another ambitious romantic drama, this time centered around legendary West Side Story composer Leonard Bernstein and the decades-spanning love affair he shared with his wife, Felicia.

Along with directing, producing, and co-writing the upcoming Netflix movie, Bradley Cooper will also star in his sophomore feature as Leonard Bernstein opposite Carey Mulligan as Felicia Bernstein. Additionally, Martin Scorsese, Steven Spielberg, and Todd Phillips are expected to produce. Production isn't predicted to start until sometime in 2022, however, so Cooper's follow-up feature remains in early development — for now.

Matt Helm - TBA (Announced)

Based on Don Hamilton's prolific spy novel series, it makes sense that Matt Helm is coming together, especially in an age when literary adaptations like Jack Ryan, Jack Reacher, and Spenser Confidential, to name a few, are proving to be dependable star vehicles on screens — on screens both big and small — particularly for prominent male middle-aged actors. Certainly, in an era driven by franchise starters, it's also easy to see why Hollywood was interested in securing the rights to the 27 book series. In fact, four of the books were already turned into movies with Dean Martin in the 1960s. With that said, while Matt Helm isn't a surefire thing, if it does well, the gravy train will start a-rollin'. That said, developments have been slow for this potential starring vehicle.

When the project was announced in 2018, it featured a lot of heavy-hitters. Along with Bradley Cooper playing the title role, George Clooney and Grant Heslov were involved as executive producers. Likewise, Steven Spielberg was attached, though not to direct. It's uncertain who is presently attached to the project, but it's easy to see the potential — both for Cooper as an adaptable movie star and as a promising new action film series.

Producing: The Fixer - TBA (Announced)

Outside of his upcoming acting commitments, Bradley Cooper is also attached to produce The Fixer, a possible new Ron Howard picture. The story is centered around the true story of a disgraced FBI agent who, at the height of the Cold War, is tapped to lead a team of CIA operatives and Chicago mobsters on an unlikely mission to kill Fidel Castro, as Deadline reported. It's unclear if Cooper is also expected to play the FBI agent in this upcoming feature; he's only signed on to produce alongside frequent collaborator Todd Phillips. Additionally, it's unclear where this project is in development, as no further updates have been provided since it was announced in early 2020. Currently, Howard is filming Thirteen Lives. Therefore, this one is on the backburner.

Producing: Untitled Hulk Hogan Biopic - TBA (Announced)

The Hulkster has lived a long and varied life, to put it mildly. The controversial former WWE superstar was once among the most famous professional athletes on the planet, but time hasn't been kind to the weathered wrestler. His checkered reputation is the stuff of legend (in a matter of speaking), and it'll also inspire an upcoming, untitled biopic from Oscar-nominated director Todd Phillips (Joker), one that's set to star Chris Hemsworth as the troubled blonde-haired, long-mustached muscleman. Additionally, Bradley Cooper is on board to produce this cinematic version of Hulk Hogan's story.

Set up at Netflix, this Hulk Hogan biopic has a lot of narrative ground that it can explore, though it's unclear where it is in development. The project was announced a few years back, but the production start date hasn't been announced. Certainly, given how much Todd Phillips' profile has ballooned with the success of his recent Oscar-nominated movie, his attention might be diverted. So, it could take a minute to get to the screen. But this larger-than-life life story is certainly primed for a grandiose Hollywood retelling.

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Not too many directors have the career that two-time Oscar nominee David Fincher has had. His transition from doing music videos to feature film was seamless. One of his most notable films is the polarizing Fight Club, starring Brad Pitt. Upon its release, the film elicited varying responses, including one from fellow director Paul Thomas Anderson. After years of silence, Fincher has finally spoke on Anderson wishing him testicular cancer after seeing Fight Club.

David Fincher spoke about his longstanding career with Rolling Stone. He delved into his start as a music video director, as well as other career highlights, while promoting his latest film, Mank. The interview eventually turned to the cult classic Fight Club. While talking about the film, Fincher was reminded of when director Paul Thomas Anderson wished him testicular cancer after only seeing 30 minutes of it. The Oscar-nominated director decided to finally respond to Anderson after two decades, saying:

Despite Paul Thomas Anderson’s comment, David Fincher sympathized with his fellow director. He even spoke on his father, the late journalist Jack Fincher, not caring too much for the controversial film. In Fincher's words:

David Fincher managed to address Paul Thomas Anderson’s comment without tearing him down. Anderson’s scathing statement came as a response to the killing of one Fight Club character who had testicular cancer in the controversial film.

For David Fincher, Fight Club has become one of his signature films. When it was released in 1999, Fight Club received polarizing reviews from critics and a lukewarm reception at the box office, despite the presence of actors Brad Pitt and Edward Norton. Despite its mixed reception, the film left a lasting cultural impact on film and television, giving it a unique standing in the Hollywood space.

Since the days of Fight Club, David Fincher has become one of Hollywood’s go-to directors. He has gone on to score multiple Oscar nominations for critically acclaimed films such as The Social Network and The Curious Case of Benjamin Button. He has also helmed celebrated adaptations of novels, such as Gone Girl and The Girl with the Dragon Tattoo.

In recent years, David Fincher turned his attention to television as executive producer on the Emmy-winning series House of Cards and Mindhunter. Both series ran on Netflix. He also produced the animated anthology Love, Death and Robots for Netflix.

David Fincher’s understanding of Paul Thomas Anderson’s words proved that not only is he a visionary filmmaker, but a decent human being. You can check out his latest film, Mank, on Netflix.

There are three major Andersons when it comes to Hollywood directors. There’s Wes Anderson. He does the quirky movies. Paul W.S. Anderson. He does the action movies. And then there’s Paul Thomas Anderson. He does the serious movies. And while I have to be in the mood for a Paul W.S. or a Wes Anderson film, I am always in the mood for Paul Thomas Anderson movies. Sometimes funny, sometimes haunting, but always cerebral, Paul Thomas Anderson is, in my mind, America’s greatest director, following closely behind Stanley Kubrick.

And it’s because his movies always bring something exciting to cinema. It doesn’t matter if the story deals with a porn star with a massive penis or an oil baron going insane. If it’s PTA, then it’s A-OK. Actually, it’s better than A-OK, because whatever he makes usually turns out to be a masterpiece. But with 8 films under his belt, and another untitled project on the way, what are his very best films? I’m sure your picks will differ from mine (I know Inherent Vice has its supporters), but can we all just agree that the man still hasn’t made a bad film yet?

8. Hard Eight (1996)

In this neo-noir film, Philip Baker Hall plays a gambler who tries to mold a young man (played by John C. Reilly) into his protégé. Things go well until Reilly's character meets a cocktail waitress, played by Gwyneth Paltrow. The film slowly unfolds into a crime film once things start going downhill. Philip Seymour Hoffman also has a great turn as a young gambler who will buy you a drink, Big Time.

Hard Eight would likely be the best movie in most director’s entire filmography, but this is PTA we’re talking about here. The Paul Thomas Anderson mood is definitely present, but it also feels like it’s just developing. More great stuff was yet to come!

7. Inherent Vice (2014)

Based on the Thomas Pynchon novel of the same name, Inherent Vice is about a pot head private investigator (played by Joaquin Phoenix) who’s searching for his former girlfriend and her new boyfriend, who have gone missing. But laced within this plot, which is actually meant to be a comedy, is a much darker story involving L.A.’s criminal underbelly. It’s sort of like a ‘70s version of The Big Lebowski, but with zero bowling and even more drug use.

I know Inherent Vice has its fans, and that it’s a great film, but it’s just not for me. I love the sun-soaked locale and how physically hot the whole movie feels. But unlike most of PTA’s films, where I feel like there’s some deeper undercurrent that I need to uncover through repeated viewings, Inherent Vice leaves me a bit too bored to want to give it multiple viewings. Still, as an overall comedy, it’s probably his funniest movie next to Boogie Nights.

6. Magnolia (1999)

Magnolia is an ensemble film involving multiple stories that all coalesce in some way. Starring Tom “Respect the cock” Cruise, William H. Macy, Julianne Moore, and many others, it’s the kind of movie where anything seems possible. Even frogs raining down from the sky.

Magnolia is a beautiful, often surprising film, but it’s also super long, and it feels it. All of the performances are fantastic, and I especially love William H. Macy as “Quiz Kid” Donnie Smith, but I think the film would have been better if it was more concise. A great film, in parts, but it could have used some trimming.

5. Punch-Drunk Love (2002)

The first movie that showed that Adam Sandler could truly act, Punch-Drunk Love is about a slightly deranged man (played by Sandler) who falls in love with an English woman (played by Emily Watson). But it’s also extremely strange, with a subplot involving a phone sex mattress salesman and frequent flier miles acquired by buying lots of pudding. It’s weird, but oddly sweet.

Punch-Drunk Love is tonally bizarre, but beautiful because of it. Sandler’s character has random outbursts of rage, but you’re still deeply invested in his character, and you hope for his unlikely romance to work. It’s a highly regarded film, but it still somehow feels like Paul Thomas Anderson's hidden gem.

4. Boogie Nights (1997)

Paul Thomas Anderson's breakout film (sorry, Hard Eight) is about a dishwasher-cum-(eww)-porn star (played by Mark Wahlberg) with a massive penis who becomes a sex star in the ‘70s and ‘80s. It features an all-star cast and feels dirty, but in a good way.

Boogie Nights has it all. It’s funny, it’s bold, it’s always surprising, and the acting is out of sight. And strangely, it’s also educational about the porn industry. PTA had the touch with this one.

3. Phantom Thread (2017)

Paul Thomas Anderson's most recent film and also Daniel Day-Lewis’s last, Phantom Thread is about a dressmaker (Day-Lewis), who falls in love with a waitress, and their somewhat sweet, somewhat toxic (but classy) relationship.

It’s hard to explain what’s so alluring about Phantom Thread, but it is alluring, and also maddening. The story is simple, but it’s still rich in detail and layered with odd subtext. It’s probably PTA’s strangest movie to date, but also one of his most fascinating. It’s the kind of movie where you say, “that’s it?” by the end credits, but it still leaves you constantly thinking about it for days. And the fact that it’s probably Johny Greenwood’s best soundtrack to date doesn’t hurt, either.

2. The Master (2012)

Starring Joaquin Phoenix, Phillip Seymour Hoffman, and Amy Adams, The Master is about a troubled Navy vet who takes solace and meaning from a traveling religious group.

But what is The Master really about? Is it an indictment on religion? A story about control and release? A morality tale? I don’t know! I’ve seen The Master five times, and each time, I feel like I’ve grasped a portion of its deeper meaning, only to be questioning everything I saw by the time the credits roll. The Master is PTA’s most complex movie, but it’s always thought-provoking and engaging. It’s my favorite Paul Thomas Anderson film (It’s his favorite film of his, too) but not his best. That would be…

1. There Will Be Blood (2007)

An oil baron (played by the Academy Award winner, Daniel Day-Lewis) is starting up his business, and business is booming. But along the way, he has to contend with everybody from a local preacher, to other oil magnates, and even his own madness.

There Will Be Blood is the best movie of the 2000s. While The Master is my favorite PTA film, There Will Be Blood is one of my favorite films, period. It’s the kind of movie where you feel like you’re going insane watching it, and a film where Daniel Day-Lewis putting a napkin over his face in a restaurant seems like the most natural thing in the world. 

Daniel Plainview is a towering character, and There Will Be Blood is probably the most elusive film I’ve ever seen in that I'm still not entirely sure of its deeper meaning. It’s a very demanding movie, and one that doesn’t answer any questions, but it’s all the better for it. It will probably be discussed and studied for years to come.

Whatever Paul Thomas Anderson makes, I’ll watch. But what are your favorite films of his? Sound off in the comments.

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For many of us, there is nothing that compares to a great music video. There's a special art to being able to tell a story or evoke emotions by brining visuals to a popular song, an art that requires someone with a great deal of skill and an eye for the dramatic. Much like David Fincher's 1990 music video for the Madonna song "Vogue." But Fincher isn't alone.

There are dozens of directors who have either gotten their start in the music video industry or jumped over to the medium after finding success on the big screen or television. Names like Spike Lee, Paul Thomas Anderson, and Spike Jonze have all made some of the most culturally significant and eye-catching videos of all time. But some of us may forget, or don't know, that some of our favorite videos were directed by the biggest names in Hollywood. But fear not, as I have you covered…

David Fincher - Vogue, Madonna (1990)

Before creating some of the most important films of the last 25 years with the likes of Seven, Fight Club, and The Social Network, David Fincher got his start in the music video business by creating groundbreaking videos like the 1990 black-and-white masterpiece that is Madonna's "Vogue." This iconic and the visionary video is filled with the technical precision and artistry that the English director would bring to his movies just a few years later and showed what he was capable of pulling off. It also didn't hurt that this was the third time Fincher and Madonna had teamed up after collaborating on "Express Yourself" and "Oh Father," a year earlier.

Spike Jonze - Weapon Of Choice, Fatboy Slim (2001)

Younger audiences may know Spike Jonze for his 2013 science fiction romance drama Her, but the Academy Award-winning filmmaker made quite a name for himself with his cinematic and revolutionary music videos in the 1990s. Collaborating with artists like Beastie Boys, Weezer, and R.E.M. for some of most memorable music videos of the decade, Jonze's most notable work arguably comes from his pairing with Fatboy Slim for the Grammy Award-winning "Weapon of Choice" video starring Christopher Walken dancing in a deserted hotel lobby. You can see elements of Jonze's signature style peppered throughout the dreamlike nearly four-minute video.

Martin Scorsese - Bad, Michael Jackson (1987)

There are music videos directed by legendary filmmakers and there is the Michael Jackson's "Bad." Directed by Martin Scorsese, this 18-minute music video plays more like any one of the acclaimed directors feature films. By combining elements from West Side Story with flash and style of in-his-prime King of Pop, Scorsese created one of the most groundbreaking videos of the 1980s. Remarkably, this is one of only two music videos the director of Goodfellas, Raging Bull, and The Irishman directed throughout his career. Oh, it also features a young Wesley Snipes, who only had a few acting credits at this point in his career.

Spike Lee - Fight The Power, Public Enemy (1988)

The Public Enemy track "Fight the Power" was originally created to serve as the anthem of Spike Lee's Do the Right Thing, so it was only fitting that the director created the empowering music video in 1989. Made to look like a political rally, the "Fight the Power" video is a seven-minute affair showing thousands of extras in the streets of New York walking behind the revolutionary and politically-charged rap group. You can see the director's style throughout the video, which came out a few years before Denzel Washington gave a career-defining performance in the Spike Lee joint Malcolm X.

Gus Van Sant - Under The Bridge, Red Hot Chili Peppers (1991)

Anyone who was alive and conscious in the early '90s will never forget the groundbreaking and breathtaking video for the Red Hot Chili Peppers song "Under the Bridge," but until recently, I didn't know that auteur Gus Van Sant was responsible for this MTV mainstay. Having just finished work on My Own Private Idaho, in which RHCP bassist Flea had a role, Van Sant was asked by the band to provide his talents and signature style to create a music video. By combining elements of realism and fantasy, the video has a distinct feel to it, which is probably why it's still held in such high regard nearly 30 years after it was first released.

Brian De Palma - Dancing In The Dark, Bruce Springsteen (1984)

Mostly known for one of the first appearances from future Friends star Courteney Cox, Bruce Springsteen's 1984 video for "Dancing in the Dark" remains one of the most popular MTV mainstays from the 1980s. The video, shot over the course of two nights at the beginning of The Boss' "Born in the USA" tour, is the only one shot by director Brian De Palma over the course of his 50-plus-year career. Known for his action and attention to detail in films like Scarface, The Untouchables, and Mission: Impossible, De Palma's video has a laser-focus on Springsteen and Cox throughout this well-lit and masterfully directed spectacle.

Ava DuVernay - Family Feud - Jay-Z Ft. Beyoncé (2018)

Ava DuVernay is responsible for one of the most star-studded and visionary music videos in quite some time with her video for the Jay-Z and Beyoncé song "Family Feud" from the rapper's 4:44 2018 album. At nearly eight minutes in length, the video jumps through time dissecting a number of issues affecting society before ending in a massive cathedral where the power-couple provide and intimate and powerful performance to an empty room. The director of Selma, A Wrinkle in Time, and the Netflix series When They See Us brings a breath of fresh air to the format in her first and only music video.

Jonathan Dayton and Valerie Faris - 1979, Smashing Pumpkins (1996)

Trying to decide which Smashing Pumpkins video from Jonathan Dayton and Varlie Faris (Little Miss Sunshine, Ruby Sparks) to include on this list was no easy task, but it had to be the music video for the band's 1996 song "1979." Sure, "Tonight, Tonight," is probably the more iconic collaboration, but the vague lyrics and close-up camera angles of the cast of characters featured in the "1979" video creates an atmosphere and feeling that is unmatched 22 years later. I remember being a kid and being transfixed by the imagery of a group of friends holding onto their fleeting innocence before adulthood stripped it away.

Paul Thomas Anderson - Across The Universe, Fiona Apple (1998)

Paul Thomas Anderson is mostly associated with actors like Philip Seymour Hoffman, Joaquin Phoenix, and Daniel Day-Lewis, but the American filmmaker also had a fruitful professional (and intimate) relationship with singer-songwriter Fiona Apple from the late 1990s to the early 2000s. This resulted in a series of striking music videos, including Apple's 1998 cover of The Beatles song "Across the Universe." Much like many of PTA's movies throughout his career, the music video plays with the contrast of beauty and madness as the singer softly recites the famous lyrics while complete chaos unfolds behind her.

Mark Romanek - Shake It Off, Taylor Swift (2014)

Unlike pretty much everyone else on this list, Mark Romanek is a music video director that just so happened to make a few movies along the way. On the movie side, Romanek is mostly known for the chilling thriller starring the late Robin Williams One Hour Photo, but his music video work is unmatched by probably anyone not named Hype Williams. Winning over 20 MTV Video Music Awards for his long list of contributions to the medium, Romanek has worked with artists like Nine Inch Nails and Taylor Swift for her "Shake it Off" video. That may sound like a crazy jump from NIN to T. Swift, but you can see elements of the director's previous entries in the 2014 music video, especially the off-putting look of the symmetrical ballerinas and cuts to figures moving in slow motion.

I hope you have had just as much fun watching this old videos and looking back on their legacy as I have had putting this together. There is something about a great music video that makes me all nostalgic and think about those lazy afternoons watching the best videos MTV (and VH1) had to offer. If you think I missed a video or have one you'd like for people to see, drop it in the comments below.

Months after its release into theaters, Paul Thomas Anderson's Phantom Thread still feels like a dream -- though one we experienced while being awake, and dialed in to all of our senses. This is the effect that Reynolds Woodcock (Daniel Day-Lewis) and his brilliant collaborator, Mr. Anderson, have on an audience... as well as on the women who wear the fantastic clothes that Woodcock designs. This all makes more sense once you have seen Phantom Thread, and if you haven't, it's coming to DVD on April 10 (it's on streaming already). To celebrate, Universal Pictures Home Entertainment gave CinemaBlend an exclusive clip of deleted scenes from Phantom Thread, under the exquisite title For the Hungry Boy:

You can practically hear Alma (Vicky Krieps) buttering her toast, and Reynolds glaring, disapprovingly, at the savage culinary act. In Phantom Thread, renowned dress designer Reynolds Woodcock (Oscar nominated Daniel Day-Lewis) balances his work with fleeting romances. His current lust falls on Alma, a waitress at a country restaurant who ignites Reynolds' creative flame. Only, Woodcock's protective sister (Oscar nominated Lesley Manville) understands that this relationship is doomed, unless Alma can find the true path to Woodcock's unpredictable heart.

Phantom Thread was recently nominated for six Academy Awards, and it took home one -- for Best Achievement in Costume Design, of course. And that's part of what Vicky Krieps is elaborating on in the above clip. The allure of Reynolds' design. The way that his handcrafted dresses can make a woman feel -- particularly if they lack confidence in themselves. It's a slippery slope of emotional turmoil, and one that Paul Thomas Anderson loves to explore in his expertly crafted vehicle.

But we expect nothing less from a genius like PTA, who unfortunately will no longer have this particular muse at his disposal. Phantom Thread might be the follow up, for Anderson and Daniel Day-Lewis, to There Will Be Blood. But it's also rumored to be DDL's final on-screen performance, as he announced his retirement from acting before this movie arrived. Will the retirement last? Who's to say. For now, appreciate all that you can about Phantom Thread, for it might be the last thing DDL gives his fans from here on out.

In addition to the above For the Hungry Boy deleted scenes clip, the Phantom Thread DVD and Blu-ray set will include a digital copy of the movie, camera tests, behind-the-scenes photography, and a feature called "House of Woodcock Fashion Show." Order it now on Amazon. It will be everywhere starting Tuesday, April 10.

Raise your hand if you haven't yet seen Black Panther? No one? Good, then you all can listen to the latest episode of AwardsBlend, where co-hosts Sean O'Connell, Kevin McCarthy and Jake Hamilton kick off their weekly film-geek discussion with a breakdown of Ryan Coogler's Marvel masterwork, then lay out their personal Top 5 Marvel movies to see if Black Panther makes the cut.

From there, the guys dive into a discussion on the Best Picture race. With roughly a week to go until the Academy Awards are handed out on March 4, Sean, Jake and Kevin talk about the films that they think still legitimately have a shot at winning Best Picture. Yes, there are nine nominees. But it really only feels like three movies hold out hope of leaving the Oscars with a Best Picture statue tucked under their proverbial arm.

But this week, the conversation really heats up when the AwardsBlend co-hosts debate the best film of Paul Thomas Anderson. We polled our listeners, and their collective pick does NOT match the one suggested by the guys. Let's see how that gets resolved.

Listen to the latest AwardsBlend right here:

AwardsBlend is a weekly conversation geared towards the ongoing Oscar race that discusses the latest developments on that vibrant beat. Sean O'Connell, Jake Hamilton and Kevin McCarthy are long-time members of the Broadcast Film Critics Association who have been covering the film industry for decades. They're also close friends who just love geeking out over movies.

If you missed any of our previous AwardsBlend episodes, you are in luck. We have an iTunes page! Visit. Subscribe. Like and comment. Review! Apple loves when you have star ratings and reviews, so if you listened, and you liked it (or even if you didn't), let us know.

Meanwhile, follow the guys on Social Media at @Sean_OConnell, @JakesTakesand @KevinMcCarthyTV. See you next week, when we make our final Oscar picks... and debate Steven Spielberg's best film. Yes, Spielberg's best film. Wish us luck. Have a pick of your own? Head to social media and use the hashtag #SpielbergBlend. We might discuss it on next week's live show!

Every year, a movie slips into theaters in the dead of December, playing enough theaters in New York and Los Angeles to qualify for Oscar consideration, and then receive a surge on Oscar Nomination morning. Usually, it's a pedigree film from a proven contender, your Clint Eastwoods or Alejandro Innaritus of the film world. This year, it was Paul Thomas Anderson's masterfully restrained fashion drama Phantom Thread that snuck into the race, and this morning, the movie announced its presence as a legitimate Oscar contender with a whopping six nominations, including four in the major categories.

Paul Thomas Anderson's Phantom Thread follows esteemed dress designer Reynolds Woodcock (Daniel Day-Lewis) as he falls into something that resembles love with an unassuming waitress, played by Vicky Krieps. PTA, DDL and the movie, itself, all scored major Oscar nominations this morning, as Phantom Thread will contend in the Best Picture, Best Director and Best Actor categories. While Krieps was overlooked, her co-star Lesley Manville showed up in the Best Supporting Actress category for her controlling turn as Reynolds' sister, and support system, Cyril.

Will it win in any of those main categories? Probably not, but getting into the categories is the first step, and from here, anything can happen. And I'm not saying that in a way that I'd be saying it for, like, Darkest Hour. Which is a Best Picture nominee, but has no real shot at winning at the Academy Awards (though Gary Oldman has to be viewed as the frontrunner for disappearing into the role of Winston Churchill).

If Focus Features were to somehow play its cards right, Phantom Thread is the kind of Oscar prestige picture that absolutely could climb its way back into a tight Oscar race. The film nabbed Picture and Director, as well as two acting noms. Can't you see an Oscar campaign that celebrates Daniel Day-Lewis' announced "final" film role? It's other two noms include Costume Design (because of course) and Score for frequent PTA collaborator Jonny Greenwood. The movie proved this morning that it is liked and respected by the Academy. It has the makings of a solid Academy Awards contender. The field has been cleared and the races essentially start over again as of this morning. Phantom Thread, with these six nominations, shows itself to be a contender... and a strong one, at that.

The Oscars will be held on Sunday, March 4, with Jimmy Kimmel returning to host the show. Guillermo del Toro's The Shape of Water leads all nominees this year with 13, while Jordan Peele's Get Out has also proven to be a solid contender. If you like Oscar talk, might I recommend CinemaBlend's weekly awards podast, AwardsBlend. We record it live each week, but if you want to download past episodes (and subscribe to us on iTunes), head over here.

In the years since its initial release, Boogie Nights has become infamous and beloved among moviegoers for a number of reasons. It showed an early glimpse at Paul Thomas Anderson's skill as a filmmaker, it helped put Mark Wahlberg on the map as an actor, and (for some fans) the film has become iconic for porn star Dirk Diggler's fake penis. Some have wondered where the phallic prop ended up after the movie ended production, and Anderson recently decided to put that debate to rest on social media by confirming that Mark Wahlberg took it. P.T. Anderson addressed these questions on the Phantom Thread Twitter account and wrote:

So there you have it. When the time came to wrap on Boogie Nights, Mark Wahlberg was the one who got to walk away with Dirk Diggler's comically-large prop penis. It definitely seems to make sense when you think about it; at the end of the day, it is hard to imagine anyone else claiming more ownership of it than Marky Mark. And to think, Mark Wahlberg recently admitted that he almost said no to Boogie Nights when he first saw the script, because the movie could've gone very wrong if executed poorly. If he had, he would not have had the opportunity to walk away with such a singularly-unique prop.

With all of that said, Paul Thomas Anderson's tweet doesn't necessarily confirm whether or not Mark Wahlberg still has the fake penis so many years after Boogie Nights wrapped production. The Lone Survivor star recently spoke out about his time as Dirk Diggler, and admitted that he even hoped that God would forgive him for starring in the movie. However, the actor did later clarify that those comments were taken out of context, because he made them in front of a group of kids during a church event, and was merely stating that he hoped God had a sense of humor about these types of things. With that in mind, I think someone needs to directly ask the highest-paid actor of 2017 if he still has that penis lying around somewhere in his house. Maybe it is buried in the attic alongside his Max Payne guns and a Ted teddy bear.

Of course, we will keep you posted with more up-to-date information if that iconic penis ever changes hands. For now, make sure to check out Paul Thomas Anderson's latest directorial effort in the form of Phantom Thread, which is currently in theaters.

As for the films that are still to come over the course of 2018, make sure to take a look at CinemaBlend's 2018 movie premiere guide to keep yourself in-the-loop on all of the most prominent release dates!

As a cinephile, there is always a tremendous thrill in seeing the greatest filmmakers teaming up with the greatest actors. The former's track record immediately prepares you for an engaging story paired with smart and purposeful visuals and aesthetics; while the presence of the latter gets you ready for a performance that couldn't be accomplished by any other star. In the case of Paul Thomas Anderson and Daniel Day Lewis, we've already seen their individual magic coalesce in the jaw-dropping There Will Be Blood -- which currently stands as one of the greatest dramas of 21st century cinema. Now the two have reunited for the dark romance Phantom Thread, and while the spark is still very much there, the finished product doesn't quite reach the heights set by expectation.

The eighth film written and directed by Paul Thomas Anderson, the new film is a deep dive into the fashion world of the 1950s, specifically focusing on the life and works of legendary designer Reynolds Woodcock (Daniel Day-Lewis). His fashion house based in London, Woodcock's dresses inspire the elite from around the world to come to his door in hopes of having something made for a big event. However, equally as famous as his taste is his temperament -- the concentration he needs for his work leading to the development of a short fuse and a low tolerance level for anything short of his intensely high standards.

Naturally, his personal relationships suffer, with the only people he keeps close to him being his business manager, Cyril (Lesley Manville), and memories of his deceased mother. This all changes with the arrival of Alma (Vicky Krieps), a young woman whom Reynolds meets while she is working as a waitress. He quickly becomes infatuated with her, seeing her as his muse and having her work alongside him designing new dresses, but as is the case with all romances in Reynolds' life, his fire quickly fizzles out. The difference with Alma, though, is that she is not so quick to be dismissed by the man she loves, and takes bold action to keep him close to her.

Daniel Day-Lewis has been saying that Phantom Thread will be his last film, the actor retiring from the profession at the age of 60, and it makes for a fascinating note to go out on. The English actor has a reputation for giving no less than 100 percent in all of his roles, and playing Reynolds Woodcock he has once again successfully transformed and disappeared, though it does leave a certain bitter taste. While the role is completely different from There Will Be Blood's Daniel Plainview, he does still carry the same kind of unpleasant air, albeit in a different form. Reynolds exudes an intense artistic passion, which you are certainly meant to respect, but that's counterweighted with some serious personality disorders. His kind of behavior was excused and tolerated during period in which the story takes place, but is completely gross and horrifying when observed in the climate in which the film is being released. The feelings evoked towards the character are a tribute to Day-Lewis' power, and the feature doesn't tell you that his actions are in any way right, but it makes for a complicated final performance from the three-time Oscar winner.

While Paul Thomas Anderson has presented an eclectic mix of tones and stories during his endlessly impressive career, Phantom Thread presents a stunning contrast of elegance and darkness, leading the filmmaker to aesthetically build something unlike anything we've ever seen from him. And the results are expectedly incredible. He keeps the argument of film over digital very much alive, and acting as his own cinematographer for the first time delivers scene after scene of visual splendor -- bathing the detailed work of uniformed seamstresses in angelic, soft white light and offering sinister, fire lit visions of the future through its non-linear narrative. You expect beauty in a film about fashion, and Anderson practically overwhelms you with it.

In his 21 years as a director, Paul Thomas Anderson has consistently demonstrated himself as a crafty storyteller and a detail-oriented auteur, and Phantom Thread continues that streak featuring much of what we love about him as a filmmaker. It's ultimately not his strongest or best work, but a worthy addition to his filmography, and a powerful send-off for Daniel Day-Lewis.

Daniel Day-Lewis is unquestionably one of the greatest actors the world has ever seen, and it's through that lens that we see writer/director Paul Thomas Anderson as a lucky guy. After all, the filmmaker has not only had the chance to work with the performer twice, but the second time, the newly released Phantom Thread, is said to be Day-Lewis' final film. After this, the big question is whether or not the actor will actually retire - and while it turns out that Anderson believes the answer is yes for now, he also thinks circumstances could certainly change in the future. He recently said,

Paul Thomas Anderson has been on the press tour recently promoting his eighth film, and it was while sitting down with Yahoo! that he was asked about Daniel Day-Lewis' retirement. Having just worked with the actor, it sounds like Anderson believes that he is indeed ready to take a break from the profession - but also recognizes that it probably won't be a permanent thing. While he may try his hardest not to work and perform anymore, Day-Lewis could be handed a script in the coming days, weeks, months or years that he absolutely can't resist, and his two-time collaborator thinks that will be enough to draw him back into the industry.

We first learned about Daniel Day-Lewis' pending retirement this past summer, and while he will be dearly missed, it's also understandable why he is stepping away. The guy has never been what you would call prolific, having made only 21 movies in 46 years, but there are few in the world who put themselves into their work as much as he does. He is a remarkable, transformative performer, and his intense dedication has resulted in him winning a stunning three Academy Awards (My Left Foot, There Will Be Blood, Lincoln). It can't be easy putting yourself into your work on that level, which explains why he's walking away at the age of 60.

For reasons that Paul Thomas Anderson is quick to note, however, retirements don't always stick in Hollywood. A performer or a filmmaker may say that they're done, but all it really ever takes is one great idea to bring them back into the magical world. We can assume that this will probably be true for Daniel Day-Lewis, but the big question is what project it will be that makes him change his mind. Obviously right now we don't have a clue, but that's a question to which we're excited to learn the answer - regardless of how long it takes.

Phantom Thread is out now in limited release.

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Recently, Mark Wahlberg opened up about his feelings starring in Boogie Nights, and how he hopes that God is a "movie fan." Wahlberg starred as a porn actor in the film who sinks deeper and deeper into drug abuse and exhibits behavior that Wahlberg seems to regret. At least one of his former co-stars, William H. Macy, feels that there's nothing to be ashamed about. Macy was recently asked how he felt about Wahlberg's comments on Boogie Nights, and he replied that it doesn't matter because it's ultimately a great movie.

Mark Wahlberg recently appeared at a Catholic Archdiocese of Chicago event, where the actor was candid about his feelings toward his starring role in Boogie Nights. The Invincible actor said that Boogie Nights was "up there at the top of the list" of past choices that he regrets. In the film, Wahlberg stars as Eddie Adams, a.k.a Dirk Diggler, who becomes a porn star and gets lost in the party hard lifestyle that his stardom affords him. TMZ caught up with William H. Macy, who co-starred as Little Bill in the movie, and asked him what he thought about Wahlberg's comments. Macy said that there was nothing to forgive because Boogie Nights was a great and "moral movie."

Directed and written by Paul Thomas Anderson, Boogie Nights takes a look at the porn industry in the late 70s/early 80s and the lives of the people in the industry. It's ultimately a very matter-of-fact look at porn as a business above all else, and it doesn't really paint the surrounding drug abuse and criminal behavior of some of the actors as a positive thing. This is likely what William H. Macy means when he calls it a "moral movie."

From a purely pragmatic viewpoint, you can't say that Boogie Nights wasn't important to Mark Wahlberg's career. Wahlberg had starred in a few films before then, but it was Boogie Nights that ultimately cemented him as an A-list actor, eventually going on to be nominated for an Oscar for his role in The Departed. The subject matter of Boogie Nights was always something that made him hesitate though, so it's easy to understand why the film has upset him from a religious perspective.

Mark Wahlberg at least has something on the way that's a bit more family-friendly than Boogie Nights. The actor will be appearing in the comedy Daddy's Home 2 alongside Will Ferrell, John Lithgow, and Mel Gibson. The sequel will release in theaters later this month on November 10. For more movie news, keep it right here at CinemaBlend.

Brace yourself for this one, movie junkies. This December, when Paul Thomas Anderson's latest drama Phantom Thread lands in theaters, it will be the last time that we can anticipate a new performance by Daniel Day-Lewis on the big screen. Sure, we'll always have his full body of work to cherish. But the legendary screen performer has announced his retirement from film acting, and so long as it sticks, Phantom Thread will be his final role. See what his last performance will entail in the film's first trailer, which just arrived:

Needless to say, there's a lot to unpack from this trailer, but we'd expect nothing less from the brilliant filmmaker behind such multi-layered masterpieces as Boogie Nights, The Master, There Will Be Blood, Magnolia and Inherent Vice. A lot will be made about the fact that Phantom Thread reunites Daniel Day-Lewis with Paul Thomas Anderson, the man who pushed all the right buttons in There Will Be Blood to create a towering monster of a character in Daniel Plainview. You can see the seeds of power and control being exerted by Day-Lewis as he plays this new character, Reynolds Woodcock.

And, because this is a Paul Thomas Anderson movie, you can see how obsession with control starts to tear a person apart... only, instead of it being a quest to control oil fields, or dismantle a rookie preacher's faith in a higher being, PTA is back to examining how love can tear a person's soul down to its core. Revisit the director's vastly underrated Punch-Drunk Love to see how this idea intrigued a younger PTA -- and look for traces of this discussion in Inherent Vice, as well.

The focus of Reynolds Woodcock's eye will be played by Vicky Krieps, personifying a waitress who is plucked from obscurity by a high-profile London clothing designer and immersed into the world of fashion when he tries to remake her in his intense vision of perfection. Only, that rarely goes according to plan, and the more this perfectionist tries to "fix" the lady he suddenly adores, the more her resistance forces him to buckle.

Phantom Thread enters a very crowded marketplace this Christmas (it opens in limited release on December 25, in time to qualify for Oscar consideration). Multiplexes expect that Star Wars: The Last Jedi will be sucking all the air out of the proverbial room. What's left will fall to Jumanji: Welcome to the Jungle. But Oscar hopefuls like The Greatest Showman, Molly's Game and Steve Spielberg's The Post also will be competing for the so-called Adult Dollar, where discerning patrons plunk down cash to be challenged by cinema. How will this movie fare? Time will tell.

Few actors have ever reached a legendary status on the same level as Daniel Day Lewis. Over the course of his lengthy career, he has turned in some of the most iconic performances ever committed to film, and he has become recognized as one of the all-time greats. But all good things must eventually come to an end, and the thespian will soon hang it up after his final project, Paul Thomas Anderson's Phantom Thread. Not much is known about Lewis' final foray into the silver screen world, but now it looks like the film will center on an English dressmaker in the 1950s. Phantom Thread's synopsis reads:

Based on that synopsis from Comingsoon.net, it looks like Daniel Day Lewis is gearing up for yet another period piece as his final silver screen performance -- which is undoubtedly a model that has worked for him in films like Last of the Mohicans and Lincoln. Following the story of a dressmaker for the royal family in 1950s London, it seems reasonable to assume that Phantom Thread could come chock full of those little character moments that we have come to expect from his performances over the years.

The pairing of Daniel Day Lewis and Paul Thomas Anderson for a premise like Phantom Thread should be enough to get any film fan excited based merely on their earlier collaboration. Ten years ago they released There Will Be Blood to near-universal acclaim, with some hailing Daniel Day Lewis' performance as oil tycoon Daniel Plainview has the best performance of his career.

If they can recapture the same magic that worked so well a decade ago, then there's no reason not to assume that Phantom Thread could debut to similar acclaim. Add that to the fact that the project has assembled a pretty phenomenal cast of supporting actors, and things are shaping up quite nicely as we prepare to say goodbye to one of the film industry's unique and well-respected voices.

CinemaBlend will bring you any and all relevant updates related to Daniel Day Lewis' final Hollywood performance in Phantom Thread as new information about it becomes available to us. The film is set to debut on December 25, 2017. Until then, take a look at our comprehensive 2017 movie premiere guide and our 2018 movie premiere guide and fill out your moviegoing calendars accordingly!

In news that should warm the balls of your feet all the way up to the tip of your noggin, cinematic luminary Paul Thomas Anderson is working on Disney’s live-action version of Pinocchio. To make matters even more scintillating, Robert Downey Jr. is already keen on playing Geppetto. Now try and tell me that your Wednesday didn’t just get exponentially better.

The Hollywood Reporter was the first to reveal this surprising but welcome news, reporting that Paul Thomas Anderson has been brought on board to write a draft of the upcoming Pinocchio adaptation. It is also possible that he could wind up directing as well.

But how did Robert Downey Jr. and Paul Thomas Anderson get paired together on such a peculiar project for both of them? Well, it’s quite simple really: Downey, Jr. and PTA are old friends. In fact, RDJ was the first choice to star as Inherent Vice’s Larry Doc Sportello. However, the actor couldn’t wriggle out of his Avengers: Age Of Ultron commitments, so the part eventually went to Joaquin Phoneix.

Downey and Anderson have been looking for something to work together on for years, and now, after Downey spent the last six months tweaking the screenplay, Anderson is currently hard at work re-writing Michael Mitnick’s (The Giver) script for Pinocchio, which Disney is dreaming he will also direct.

These are dreams that the entire cinematic community will now be replicating. However, before we all start imagining the various different ways that PTA could bring everyone’s favorite wooden toy with aspirations of being a real boy to life, we should remember that there’s still a very long way to go before Anderson actually steps behind the camera on set.

I mean, can you imagine Paul Thomas Anderson flourishing within the realms of a big-budget film that is set to be constrained by studio heads and moneymen? Since Boogie Nights, and because of the horrid time he had shooting his debut feature, Hard Eight, Anderson has always made sure that he has complete creative control of his films, which include Magnolia, Punch-Drunk Love, There Will Be Blood, The Master, and Inherent Vice. This has been fine, because he has the talent to excel in these circumstance and he constantly produces films that cinephiles devour in droves.

But fresh off the huge box office success of the live-action versions of Maleficent, Cinderella, and Alice In Wonderland, Disney will have high expectations that Pinocchio will not just meet, but eclipse these grosses – especially because of the popularity of the character and original film.

If Paul Thomas Anderson can toe the line between his idiosyncratic talent and the desires of the studio, while also making sure that the film has a mainstream appeal, then Disney will be more than happy to have him direct. But if either Disney or Anderson find themselves separated by those much feared creative differences that often leads to so many cinematic divorces, their time working together on Pinocchio could be short-lived. I’m already down on my knees and praying to the heavens above that won’t be the case though.

Anyone who has seen Kingsman: The Secret Service will know just how exhilarating and plain-old entertaining it is. Matthew Vaughn eschewed the modern trend of taking a mature approach to the blockbuster, and instead glittered it with over-the-top flair and visuals.

The acclaim and box office that Kingsman has received suggests that audiences have been pining to return to this trend, too. But Matthew Vaughn didn’t reinvent the wheel with Kingsman. Far from it. In fact, Vaughn’s inspiration and influences were blasted across the screen, and it speaks volumes that despite these obvious tips of the hat, Kingsman: The Secret Service still felt fresh and original.

But which directors clearly influenced Matthew Vaughn’s work on Kingsman: The Secret Service? Well, to start with, here are the six most obvious.

Quentin Tarantino

Quentin Tarantino’s influence on Matthew Vaughn has been apparent since Kick-Ass. However, while most impressionable filmmakers are influenced by the likes of Pulp Fiction and Reservoir Dogs from Tarantino’s oeuvre, Vaughn has instead taken inspiration from his latter work, especially Kill Bill, Inglorious Basterds and Django Unchained.

Like Tarantino, Vaughn is willing to push his on-screen violence to the extreme (which was obvious in Kingsman: The Secret Service as soon as Jack Davenport’s Lancelot was cut down the middle from head to toe). But, alongside his regular screenwriting partner Jane Goldman, he also likes to pepper his screenplay with profanity, which is used correctly and brings an edge and hipness to the proceedings.

But where Vaughn actually eclipses Tarantino is that he never loses focus of the film’s aim, which means he doesn’t stray into pretension or self-indulgence and keeps his films lean and well edited. Which is why he’s just like this other filmmaker …

Jon Favreau

Jon Favreau isn’t regarded as one of Hollywood’s most prestigious filmmakers. This, despite the fact that his combined box office total is $1.7 billion from just seven films. However, this isn’t really a surprise. Favreau has long since left behind Swingers’ unique blending of character and cool in favor of more bombastic and mainstream material (bar Chef, of course). The inherent appeal of Elf, Zathura, Iron Man, Iron Man 2, Cowboys & Aliens and The Jungle Book (which is due out next year) were obvious, and something that Favreau clearly aims to exploit.

That’s nothing to be ashamed of, and Matthew Vaughn’s catalogue of work proves that he admires the same genre material, too. Layer Cake tapped into the appeal for British crime film, Stardust was a light-hearted fantasy romp for the entire family packed with a terrific ensemble that was alluring to a variety of demographics, both Kick-Ass and Kingsman were outlandish comic-book tales that already had a cult audience and X-Men: First Class was, well, X-Men.

Both directors are also able to walk the tight-rope of eking out the appeal of comic-book characters for a wider audience while also pleasing its fan-base. Something that is a lot harder to do than it looks. Just look at The Green Lantern and The Hulk's failures.

Guy Ritchie

This one is less of a surprise. After all, Matthew Vaughn did produce Guy Ritchie’s Lock, Stock and Two Smoking Barrels, Snatch, and Swept Away. In fact, Ritchie was supposed to direct Layer Cake. But when he dropped out, Matthew Vaughn stepped up and, in the process, forged quite the career for himself.

However, while Vaughn is yet to suffer the career blip that Ritchie went through, there’s no denying the fact that Ritchie’s approach and style has influenced his former producer’s direction. But in what ways? First of is just how uniquely English both their pictures are. They both like to fill the screen with GB iconography while also tapping into the class system that has summed up the country for generations, but with a modern edge. All of which always seems to appeal to US audiences.

Meanwhile, like Ritchie’s films (especially Rock N Rolla, Snatch and Lock, Stock) in Kingsman Vaughn utilizes a carefully constructed soundtrack to engross and hypnotize his audience, while he also stylizes his action scenes with over-the-top stunts and explosions, and they fizzle with a kinetic energy that was prevalent in Ritchie’s Sherlock Holmes films, as well.

Edgar Wright

Matthew Vaughn’s connection to Edgar Wright might not be as blatantly obvious as his link to Ritchie, but there are certainly similarities between the filmmakers.

Like Wright, Vaughn’s action scenes unfold meticulously, and every split-second seems to have been choreographed to perfection. Vaughn isn’t afraid to let the camera do its job, and he goes out of his way to avoid the atypical Hollywood action setup.

But it doesn’t stop there. Both Wright and Vaughn love to pepper their movies with meta-references and in jokes to cinema, and to play with audiences’ expectations. Whether it’s the characters in Hot Fuzz watching Point Break or concluding by completing the seldom seen paper-work that police officers have to complete, or the repeated declaration in Kingsman: The Secret Service that "this isn’t that kind of movie," both Wright and Vaughn love to tease their viewers.

It’s just a shame that Wright never got the chance to make his own comic-book movie because then there could have been even more comparisons.

Paul Thomas Anderson

I can already hear the naysayers gathering, and I’m fully aware that this is going to need some explanation. There were two specific moments in Kingsman: The Secret Service where I thought I could see the influence of Paul Thomas Anderson, and they both unfolded in the film’s last act.

Eggsy’s tussle with Gazelle was punctuated with falling debris, the sound of which only helped to increase the tension, just like when the drug-addled Alfred Molina danced along to "Sister Christian" and Rick Springfield while negotiating a cocaine deal in front of Mark Wahlberg, Tom Jane and John C. Reilly as Molina’s pal threw firecrackers on the floor in Boogie Nights.

Not buying it? How about Kingsman's final shot (more of which in the next slide), which was famously of Princess Tilde’s rear-end. This explicitness is only matched by the final scene in The Master; which depicts Joaquin Phoenix having sex in England and asking his partner to help get their exploits started again. Both are borderline perverted, and are quite obviously the directors making a joke at the audiences’ expense.

Or maybe it’s just me. I'd love to know what Vaughn thinks...

Every James Bond Director

From Kingsman: The Secret Service’s poster campaign to the underground base that first appeared in Die Another Day the nods and tips to the James Bond franchise are littered throughout the film.

Valentine’s lair is also remarkably similar to Blofeld’s in You Only Live Twice, while Kingsman’s shoes even come with their own knives like SPECTRE’s in From Russia With Love but it’s the final scene that Vaughn has insisted pays the biggest debt to 007.

Speaking to Entertainment Weekly, he insisted that Princess Tilde’s decision to reward Eggsy with anal sex was his tip of the hat to Moonraker and The Spy Who Loved Me’s final lines of "Bond is attempting re-entry" and "keeping the British end up," respectively.

In fact, despite criticism from feminists to the contrary, Vaughn believes that this scene is empowering to women because it turns the joke on its head.

I’ll leave you to make up your own mind about whether he’s right or not.

Doug Liman's sci-fi blockbuster Edge of Tomorrow earned a great deal of praise when it was released last summer, but it turns out that one genius filmmaker may be its biggest fan. Inherent Vice director Paul Thomas Anderson has heaped praise on the blockbuster, and in particular the performance by Tom Cruise, insisting that no other actor could have played that role so well.

Paul Thomas Anderson let his opinion of the 2014 blockbuster known while recently promoting the UK release of Inherent Vice. While speaking with Dazed Digital, the subject turned to Tom Cruise - who starred in Anderson's Magnolia - and the filmmaker took the opportunity to express the immense pleasure he felt while watching Edge of Tomorrow. Said Anderson,

It’s hard to disagree with Paul Thomas Anderson’s assessment of Tom Cruise’s delightfully eclectic performance in Edge Of Tomorrow. In fact, there’s even an argument to be made that it could be Tom Cruise’s finest portrayal to date. That might be pushing it slightly. Especially since Cruise’s performance in Paul Thomas Anderson’s wonderfully meandering LA epic, Magnolia, saw him reach a level that no-one had previously imagined. But there’s no denying the fact that Cruise certainly excelled in Doug Liman’s intelligent blockbuster.

In Edge Of Tomorrow, when Tom Cruise needed to be light, he was light. When he needed to add dramatic weight or tension to the film or its plot, he seamlessly did so too. This was all while he also oozed that effortless screen presence and charm that has followed him throughout his career. Cruise also helped to elevate the work of his co-star, Emily Blunt, and the duo’s chemistry was one of the main reasons why Edge Of Tomorrow was regarded as one of the most underrated blockbusters of 2014.

In fact, with his performance in Edge Of Tomorrow, Tom Cruise reminded moviegoers just how integral and how important the perfect casting of a role can be for a film. This is something of which Paul Thomas Anderson is certainly more than aware. Not only have his meticulously cast ensembles like Boogie Nights, Magnolia and Inherent Vice helped to bring to life the cavalcade of unique characters that he has created, but during a recent interview with Marc Maron he declared that the most important element in the creation of his films has been the casting.

I for one hope that these comments might be the precursor to Paul Thomas Anderson directing Tom Cruise again in the near future (apparently there isn't any bad blood between them regarding the Scientology-tinged The Master). As Anderson’s proved with Daniel Day Lewis, Philip Seymour Hoffman, and Joaquin Phoenix, he can truly get the best out of actors, and despite the mountain of negativity that is unfortunately associated with Tom Cruise’s private life, there’s no denying the fact that he is still one of the most electric, nuanced and thought-provoking mainstream actors currently working.

Inherent Vice writer/director Paul Thomas Anderson is known for making ultra-serious, lately very complicated movies for film lovers. It’s highly unlikely, in this day and age of multi billion-dollar, summer blockbuster movies, that he’ll ever make one of the highest-grossing films of the year. As a result, some may assume this means the auteur looks down on superhero movies. However, this is not the case.

Turns out, Anderson is actually a big fan of superhero movies. Furthermore, he goes into detail explaining how they are essentially unjustly branded by people who don’t like them. When asked in a recent interview with Rolling Stone, what he thought of the current state of movies and the complaints about American filmmaking and the abundance of superhero flicks, he broke it all down for us.

PT is known to be one of the great filmmakers of our generation. His dedication to the form and his willingness to push its boundaries are highly respected by critics and fans alike. When he popped onto the scene with his debut film Hard Eight almost 20 years ago, people immediately started taking notice. His followup films Boogie Nights and Magnolia showed his incredible talent for managing an ensemble cast, and their subsequent success with audiences practically made him a household name. In recent years, he has been putting a strong focus on the performance of his actors, beginning with There Will Be Blood (2007), which won Daniel Day-Lewis an Oscar, then The Master (2012) and now with his latest, Inherent Vice.

When looking at the above-mentioned films, the latest titles in Paul Thomas Anderson’s filmography, it’s fairly easy to see that he takes his filmmaking duties very seriously. I guess that’s why I'd always perceived that he’d only be interested in watching films of that nature. It’s very cool, however, that this is not the case. One can always appreciate open-mindedness when it comes something so broad as film. I mean, who doesn’t want to see what’s going to happen in Avengers: Age of Ultron or the next installment of Guardians of the Galaxy? That’s what is great about movies… sometimes you want hardcore, thought-provoking cinema and other times you just want to see incredible CGI , some explosions and a costumed lead saving the universe.

The marketing for Paul Thomas Anderson's Inherent Vice has heavily leaned on the 1970s style of the stoner mystery, but this brand new trailer takes it to a whole other level. Check it out!

This new Inherent Vice clip - which comes to us thanks to Movie Clips - is pretty damn hard not to love, with the marketing team at Warner Bros. taking full advantage of the movie's setting and giving the film a grindhouse sort of feel. Featuring more than just bad film quality and a gravely voiced narrator, though, this preview goes the full mile by actually being {sloppily) edited in the style of movie ads that were being made 44 years ago.

There is a lot to appreciate about this new spot, but if I had to identify the part that gave me the biggest smile, it would have to be the narrator cryptically revealing that author Thomas Pynchon is "starring" in the film. This is a rather funny, given that Pynchon is famous for being reclusive and staying away from cameras - but the truth is that the writer does actually appear at one point in the movie. The cameo was confirmed by Josh Brolin in an interview with The New York Times back in September, with the actor describing Pynchon as a "kind of mercurial iconoclast" who chose to stay close to corners. So when you go to see Inherent Vice this weekend, keep your eye out for a guy who might be a 77-year-old genius author.

Paul Thomas Anderson's new film first got a limited release this past December so that it could quality for Academy Award consideration in 2014, but it will be getting a wide release this weekend and I would recommend that each and every one of you goes to see it. I haven't been shy about expressive my deep love for the film - giving it a five-star review and declaring it the best movie of the year - and I'm honestly excited that now more people are going to get access to it and will get to enjoy it for themselves. It's a ridiculous adventure filled with zany characters and beautiful atmosphere clouded with pot smoke, and creates a wonderfully odd world that you really don't want to leave.

In Inherent Vice, Joaquin Phoenix stars as Larry 'Doc' Sportello, a pothead private eye who falls into a deep mystery when his ex-girlfriend Shasta (Katherine Waterston) visits him fearing that her powerful land developer boyfriend Mickey Wolfmann (Eric Roberts) is in danger of being locked in a looney bin as the result of a plan orchestrated by Mickey's wife and her boyfriend. It isn't long after that both Shasta and Mickey both go missing, and Doc finds himself going further down the rabbit hole just to figure out what the hell is going on. Josh Brolin, Owen Wilson, Reese Witherspoon, Benicio Del Toro, Martin Short, Jena Malone, and Joanna Newsom all co-star, and you should see it as soon as you're physically able.