direction. The style and manner in which Paul Thomas Anderson uses silence and long takes is ingenious, and as stated above, was most likely inspired from Kubrick's works. Similar to the quote, "The less you say, the more your words will matter," the more silence, the more each line will signify. The more long takes, the more each short take will signify. Therefore, this method permits a greater control over the variety of dramatic effects; and in turn, the audience's emotions. Anderson also utilized this technique in many of his other films, including "The Master", "Magnolia", and his masterpiece, "There Will Be Blood". Of course, this strategy doesn't always serve well. The more the audience regards the dialogue, the more engaging the screenplay has to be. The more engaging the screenplay is, the more compelling the performances have to be. Yet "Phantom Thread" has all of this. Magnificent lead performances by Daniel Day-Lewis and Vicky Krieps, a strong and often overlooked supporting performance by Lesley Manville, and a sharp, dense original screenplay written by Paul Thomas Anderson himself. A few sprinkles of comedy are also blended in the script, which is always valuable for a romance. Not to forget the costume design either, which was essential to establish a post-war 1950s London environment. And finally, the score. Arguably the strongest part of the film, the score possesses Paul Thomas Anderson's signature strange aura that is found in several of his other films. It's not a coincidence that one of his most frequent collaborators is Jonny Greenwood, who composed the score for this film, "There Will Be Blood", and many others. While most movies nowadays would use music to heighten drama, Paul Thomas Anderson rejects the common norm; valuing music to form an atmosphere. This atmosphere is crucial in almost all of his works, creating an eerie tone for a mystery that drives the story forward. A transcendental and sublime work of art so remarkably subtle- delicately transfixing the audience ever so slightly, exploring the convoluted depths of an artist's obsession, and expanding cinema's horizons for miles of wonder- all woven beneath the intertwined threads of the phantom. Farewell, Daniel Day-Lewis. We will miss you.

in Daniel Day Lewis's eyes, with every move, with every silence. It is a monumental, beautiful creation. His Alma - the Alma that he chooses - is played with Bergmanesque intensity by Vicky Krieps and she's a perfect framer/embracer/provocateur in a remarkable performance. Lesley Manville is chillingly perfect as a sort of Mrs Danvers. A sister/gate keeper with an eye on everything. Was she the one that protected him from his homosexuality or it's just my imagination? I love Phantom Thread. I will see it again soon. P T Anderson gives us another scrumptious gourmet dish. Tank you for that.

dialogue which keeps you drowned in the film. Many people might think ''Oh its a movie about the love story of a dressmaker''so they might not watch it. If you feel that way, its your loss to miss this masterpiece of a film. It is a suspenseful romance film which has never been done before and the fact that you cannot look away from the screen, it proves that this film is the best film of 2017. This film is going to be mentioned for years to come. Just like ''There Will Be Blood'', it will be shown in film classes to learn from and just like ''There Will Be Blood''it will be mentioned as one of the best films of all time. As this is Daniel Day Lewis's last role, i can say that it is worth being called a movie worthy of Daniel Day Lewis's last. In fact, It is his best film to date and in terms of performance, he gives one of the best of his career. I would not be surprised if he wins best Actor for this one over Gary Oldman. Day Lewis totally deserves to be the only actor to have 4 Oscars. If Vicky Criceps is not nominated for Best supporting actress or best actress then we know that the Oscars are unreliable, She equally matches Day Lewis in terms of performance and that is saying a lot because she is working with one of the best. Paul Thomas Anderson continues his legacy in film with this epic, and he deserves a nomination for best director, if not, he deserves a win. This film is one of the best to come out in the past 5 years and i could say its perfect. I give it a 10 out of 10.

It's 1955 London, and this is the House of Woodcock. He lives and works in a home that serves as the canvas for his art, as well as a place to lay his head for sleep. His art is dressmaking. It's also his obsession and purpose for living. This is the story of a man with transformative talent, who, despite his stated lack of need for those outside his solitary realm, is dragged into the humanity of love and caring.This is an odd film about odd people. It's about a dressmaker and it features people making beautiful clothes ... yet it's not a fashion movie. No, this is the study of a genius man and his muse - who is also his lover - and their unconventional saga of love. It's also a consistently funny movie and surprisingly so . Evidence that that 3 will always be a crowd, Woodcock's devoted sister and buttoned-up business partner Cyril a terrific Leslie Manville runs a tight ship, while simultaneously using her near preternatural ability to read his moods and idiosyncrasies and respond accordingly. He refers to her as "my old so-and-so" in a way that reflects a lifelong bond unlikely to be broken.The woman who prevents this from simply being a story of a reclusive genius is the aforementioned muse Alma played by the effervescent Vicky Krieps . Is she his muse, a model, or his lover? Well, yes to all. And yet those labels fall short in describing the subtleties and nuances of their relationship. When does she play which role in order to maintain the balance so key to his work? Alma is often confused about the best approach in any moment, but she reaches him as none before. When she tells Woodcock that a certain client "doesn't deserve your dress", it strikes a chord with him that no one else has ever understood. It's as close to 'getting him' as one can attain.Ms. Krieps goes toe-to-toe with Daniel Day-Lewis in their scenes. He is simply the greatest living actor, and maybe the best ever at his profession. Her blushy cheeks and determined eye of observation bely an inner strength that isn't necessarily obvious at first glance. The twist in this "romance" is unlike any other love story from the big screen. While he is haunted by the memories of a cherished mother, Alma presents a more immediate force of reckoning. Is she his tender savior or a menace of danger? It's fascinating to watch this unfold.Most know by now that Daniel Day-Lewis has announced this will be his final acting role. We can only compare this to the retirements of Sandy Koufax or Jim Brown. We feel cheated by the void of greatness left by their departures, and if this is truly his final role, the DDL legacy is supremely secure. His meticulous performance shines not only through the quirky OCD moments, but even moreso in the seemingly spontaneous moments of bickering and annoyance ... moments that come across ad-libbed instead of scripted - these sound and feel like real life arguments!Supposedly, filmmaker Anderson based the character on Spanish-Basque designer Cristobal Balenciaga, and Day-Lewis research added other elements of authenticity. It's their first movie together since the fantastic THERE WILL BE BLOOD ten years ago, and theirs seems to be a synchronicity that few actors and directors ever share. Mr. Anderson shot the movie himself, and his use of close-ups - faces, fingers, sewing needles - capture the delicacies as well as the power. The final piece of this glorious puzzle is the orchestral score provided by Radiohead's Jonny Greenwood. It's both prominent and intricate, with stunning piano work that stands on its own. This is a movie about greatness by those who are also great.

content. You always get glued to the screen. Also the cinematography is spectacular. Paul Thomas Anderson always has Robert Elswit. But this time he has the helm of cinematographer himself. And it's pretty good actually. I actually would've preferred Robert Elswit himself, because even though the cinematography is great, it isn't spectacular. Also the writing is great as well, of course. Paul Thomas Anderson has great scripts. I really like the way he writes his movies, it's really amazing. But this might be his best written and directed movie since boogie nights and the master, two of my favourite Paul Thomas Anderson movies. The acting is also exceptional, especially from Daniel Day Lewis who carries the movie. Is acting is marvelous. And the rest of the acting is also great. The sudden, scary, relentless relationship between Daniel Day Lewis' character and Vicky Krieps' character is really moving. You get to see these characters grow and learn from each other. And really, the two main lead roles are fantastic as characters, in term's of how these characters are set-up. The music is actually where my problems lie. The music is constantly nodding you off to sleep. It's the most boring, drifting, lazy score I've heard this year. Usually Paul Thomas Anderson doesn't have good music in his movies which is a shame. Anyway the Phantom Thread is a great movie, definitely one of the best movies of the year. This is Daniel Day Lewis' last role and he knocks it out of the park with this one. One of the best scripts this years. Best direction and superb acting.99%

sophisticated filmmaking today. The sets, costumes and score are simply masterful and well worth the price of admission alone. From a somewhat more tangible standpoint, Anderson's drama further delivers the goods. The acting is very strong, as the film's performances can feel slightly subdued and low-key before creeping up on the viewer to create a sharp but simple impact. The movie's script is a delight, managing to pull of a genuine hat-trick by feeling both simple and complex at the same time. With a tone reminiscent of a classical romantic drama with Gothic and even some Shakespearean undertones, the tightly but grippingly paced drama that unfolds is both entertaining and enthralling for its audience. While PTA's films are not always known for their senses of humor, "Phantom Thread" is surprisingly very funny at times. The film's use of irony is also immensely clever, as dramatic and situational irony are both used in clever and impactful manners--both when the audience most and least expects them to arrive and occur. While some might criticize the film for being slightly slow at times, patient viewers will find much to savor--and commend--here. Highly recommended. 9/10

film is artwork come to life which will fall on deaf ears of the general public who want a more visceral experience. This is atmosphere and mood. The details are exquisite and beautiful. Again, if your meals require you yell through a drive-thru squaw box, don't see this.

Another aspect one cannot ignore is the mesmerizing musical score.