HR’s Defore on “Blood”

Hollywood Reporter guy John Defore was also at the Austin Draft House last night, and he’s written that the fans of There Will be Blood director Paul Thomas Anderson “might not know what to do with this picture, which has none of the attention-grabbing flourishes of earlier films — no hailstorms of frogs or deus ex machina pianos here.

“The closest it gets to self-conscious showiness is its closing scene, a confrontation as memorably strange as the fireworks-popping, ‘Jessie’s Girl”-belting drug deal in Boogie Nights. Its setting is as visually spare (a highlight of Jack Fisk‘s brilliant production design) as the other was decadent and cluttered, and eventually the scene makes good on the title’s promise — but only after offering a virtuoso humiliation to mirror one that Daniel Day Lewis‘s character suffers earlier in the story.”

I was told on 9.19 that a Blood screening would happen sometime during Fantastic Fest. I was skeptical at the time.

17 thoughts on “HR’s Defore on “Blood”

  1. What? No. Re-read it.

    “Director Anderson’s critics might not know what to do with this picture, which has none of the attention-grabbing flourishes of earlier films”

    It’s an unqualified rave.

  2. “Director Anderson’s critics might not know what to do with this picture, which has none of the attention-grabbing flourishes of earlier films”

    Poor Ian.

  3. Not that anyone is going to take this very seriously, but Harry’s absolute rave is up on AICN. In addition to referencing Giant & Citizen Kane like everyone else, he brings up Ace in the Hole in comparing Kirk Douglas’ character to DDL’s. A good read. for those that appreciate Harry’s enthusiasm, as I do.

  4. Actually, it was “Sister Christian” by Night Ranger, not “Jessie’s Girl” in the fireworks n’ drugs scene in “Boogie Nights.” MOTORIN’!!!

  5. Actually, Hatheru, it’s “Sister Christian” AND “Jessie’s Girl” in that scene. Remember – the mix tape hits the end and then there is an ominous pause before it auto-flips and starts the new song.

  6. I would argue that the use of JESSIE’S GIRL is just as brilliant as SISTER CHRISTIAN. That long close-up on Mark Wahlberg’s face that silently screams “How did I get here? I fucking NEED to get out of here,” is awesome.

  7. If you use a term like good, than that statement becomes ridiculous. MAGNOLIA and PUNCH-DRUNK LOVE are both at least good, no? Great is debatable.

    Also the scene with Molina in BOOGIE NIGHTS is one of the greatest in recent cinema history, just so awkward and tense. It’s like a short film all its own.

  8. They’re both great. And I would refrain from bugging BurmaShave today, people. He’s already had to break a couple of twenties, so he’s getting a little cranky.

  9. I forget a lot about the movies I see, but PTA’s films stick in my mind (even without a rewatch) for years at a time. He’s an uncanny talent, and if I only see one more movie this year in a theatre, it’s going to be this one.

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