Tag Archives: Daniel Day-Lewis

The Set of 400: #167 – My Favorite Glass Eye

Today! Because the appearance of law must be upheld, especially while it’s being broken –

Gangs of New York (2002)

Directed by Martin Scorsese (x3)

Starring Daniel Day-Lewis (x2), Leonardo DiCaprio (x3), Cameron Diaz (x3), Brendan Gleeson, John C. Reilly (x6), Jim Broadbent (x2), Henry Thomas, Liam Neeson (x2), Eddie Marsan (x3), Stephen Graham, Gary Lewis, Lawrence Gillard Jr., Cara Seymour (x2), Tim Pigott-Smith (x2)

This movie was so close to being an unmitigated masterpiece that we as a people can only lament the missteps made in dragging it to completion. You have a terrific cast, a marvelous adaptation of a book without a real narrative, and Scorsese hell bent on winning an Oscar, in a year that wasn’t super competitive. Daniel Day-Lewis, not one to slum it, gives 110% percent and dominates the film as Bill the Butcher – a film, again, loaded with talent. He’s a colossus, an unholy terror, and while the film purports to be about the Vallons – father Priest and son Amsterdam – it ends up totally the story of the vicious Five Points ganglord. Continue reading

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The Set of 400: #380 – My Favorite Milkshake

Today! Because I am the third revelation! I am who the Lord has chosen!

There Will Be Blood (2007)

Directed by Paul Thomas Anderson

Starring Daniel Day-Lewis, Paul Dano, Ciaran Hinds, Kevin J. O’Connor, Dillon Freasier, Paul F. Tompkins, Jim Downey, Jim Meskimen

There are a handful of directors that to this day I run out and see whatever they make, no questions asked, no matter the subject matter, cast, reviews, or anything. Basically since 1997, Paul Thomas Anderson has been at or near the top of that list. And There Will Be Blood, while not my favorite, might be his best film. That glorious opening half hour! Daniel Day-Lewis commanding his way to a second Oscar! Paul Dano, coming off Little Miss Sunshine, but with so much dialogue! The titanic struggle for the town’s soul! The backstabbing! The milkshake! It’s not a particularly fun movie, but goddamn is it compelling.

Anderson’s later films have gotten tougher on audiences, and it started right around here. The plots became less and less important, as the atmosphere and tone took center stage. Movies like Inherent Vice, The Master, and The Phantom Thread became harder to follow, motivations got weirder, and the level of interpretation required grew exponentially. I enjoy these movies from the perspective of cinematic study, but they don’t make for easygoing afternoons at the cineplex. That’s not their intention, and I’m not saying it should be, but I worry that Anderson’s deserved wide acclaim will elude him so long as his films continue down this path. He is easily in the discussion of being the world’s greatest living director, but would your average moviegoer be able to acknowledge this? He’s an American Jean-Luc Godard living in an age of J.J. Abrams. Continue reading

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