Phantom Thread at the Mayan

Do not miss this unique opportunity to see the most elegant and restrained of the PTA oeuvre, and my personal favorite (except for maybe Inherent Vice). This glorious film is well worthy of a full screen and your full attention.

The movie is, of course, beautifully made. Anderson’s visual style is remarkable. Shooting the picture himself, reportedly, with the collaboration of lighting cameraman Michael Bauman, he frames in a Kubrick-inflected style but cuts with a Hitchcock-influenced one. This gives the movie a sense of momentum that’s supported by Jonny Greenwood’s score and the other music (mostly classical) alternating with it. This is very much a “composed” movie; very little of it is without music, and there are very deliberate shifts in instrumentation and orchestration throughout. The acting is, of course, impeccable. Day-Lewis, performing for the first time in what seems like a long time in an accent and vocal timbre not unlike his natural one, is a tightly-wound wonder who becomes like an old-man kitten once Alma has reduced him to the “open and tender” state that she frequently desires of him. Krieps and Lesley Manville, both impeccable, inhabit the circumscribed world of this story with utter integrity.( Glenn Kenny/Rogerebert.com)

Tickets available on line and at the box office
Parking available in the Mayan lot behind the theater and across Lincoln on the other side of the street.
We can walk to Punch Bowl Social after to debrief if people are interested.