top of page

Ranking Every Paul Thomas Anderson Film from Best to Worst

While he may not be a household name like many of his early VHS generation contemporaries, Paul Thomas Anderson is still one of the greatest filmmakers alive today. And even though he didn't get his long overdue Academy acknowledgement last night (fuckin CODA), we decided we'd still like to honor the phenomenal visionary the best way we know how - by assigned arbitrary rankings to incredible works of art in a sad attempt to spark conversation around actual films instead of the fucking slap. Anyways, enjoy:

#9. Phantom Thread

While I know most people love to compare PT Anderson with Robert Altman, I feel like there's been a shift later in his career where Anderson much more closely resembles Stanley Kubrick. Just in the way he meticulously frames his shots, his incredibly dark humor and the breathtaking cinematography. And Phantom Thread is definitely PTA's Barry Lyndon. A stark period piece with remarkable performances and technical expertise a plenty but there's a lack of humanity and Anderson's signature humor that hinders this film quite a bit. Of course, the story is about an incredibly demanding man and his toxic relationship of interdependency with his muse turned wife - however, the dehumanizing analyzation Daniel Day Lewis personifies so brilliantly just isn't that entertaining. Although the biggest takeaway here may be Jonny Greenwood at the absolute peak of his scoring abilities.

#8. Hard Eight (Sydney)

Hard Eight (also known as Sydney) isn't quite the rocket ship to stardom that fellow independent filmmakers like Kevin Smith or Quentin Tarantino hit upon with their debut features - but feels more like a visual cover letter for what's to come. We get some great interplay from Phillip Baker Hall and John C. Reily with their found family narrative and a simple yet effective staging of a deal gone wrong scenario. The premise isn't all that earth shattering but Anderson gets so much from his charismatic cast and their interactions with one another that it carries the film in spite of the limited scale.

#7. Inherent Vice

In what feels like Anderson's attempt at a Chinatown meets Big Lebowski crossover, Inherent Vice is certainly the most tonally ambiguous film of his career. The score, pace and performances all seem to be selling an incredibly tense noire thriller while the story itself is somewhat of an absurdist comedy. I wonder if perhaps the original casting of Robert Downey Jr. may have been able to set that tone a little better than Phoenix does in the lead role? Don't get me wrong, Phoenix is a phenomenally talented guy but just doesn't milk the comedy out of his scenes the way that the rest of the supporting cast seems to at times. The whole movie just feels like it should have been funnier - even if it is a pretty beautifully confounding caper encapsulating 70's Venice weed culture.

#6. Licorice Pizza

With this light-hearted coming of age story set among the backdrop of the 1970's California Valley, Anderson seems to be accepting himself and reverting to his roots - much like Alana Haim's character in the film. After being pursued by a series of profane, rich, man-children looking to exploit her for fame (Sean Penn), sex (Bradley Cooper), and prestige (Benny Safdie) - Alana finally accepts herself and the person that's been by her side through it all. She's done chasing empty admiration, learned that waterbeds don't offer any real support and even the clout of running for mayor won't allow you to ever be your true self. What matters is the people that stand with you through it all. This offbeat, genuinely touching love story feels like a return to form for one of this generation's best. Even if it's not HIS best, it's nice to see himself accepting himself and his voice. After the high concept dramas in There Will Be Blood and The Master, Anderson tried his hand at pursuing a lighter tone in comedy with Inherent Vice and then a straight forward award contender period piece with Phantom Thread. Licorice Pizza feels like the happy medium between the two.

#5. Magnolia

While albeit a tad melodramatic, Magnolia flexes Anderson's ability to utilize a large ensemble cast in a remarkably grandiose way. Virtually every character here is fleshed out so vividly that even if you're unsure of some of the story's twists and turns, you can't help but become engulfed each character's overlapping arch. The complex relationships and occasionally laugh out loud exchanges between these fixtures is handled so marvelously; it's hard to really pick a stand out. William H. Macy and Julianne Moore are phenomenal but it may just be Tom Cruise in a career best (?) performance that encapsulates the film and it's aura of complicated relationships most fittingly.

#4. The Master

One of the most criminally underrated films of the 2010's, PT Anderson's examination of the separation of man from animal is an absolute marvel to behold. From the absolutely gorgeous 65 mm film, to Jonny Greenwood's breathtaking score, to the powerhouse performances from Phillip Seymour Hoffman, Jaoquin Phoenix and Amy Adams - this is truly a modern masterpiece. And underneath all of the surface level aspects that make this film such a joy to take in is the driving philosophical conundrum introduced by Hoffman's Lancaster Dodd by trying to apply logic and reason to every occurrence around him and consequently by doing so, only raising more questions. Phoenix, who plays the embodiment of animal instinct, absolutely confounds Hoffman's rationalizations at every turn as he fails to prove that every man has a master. Because you can't tame the untamable beast.

#3. Boogie Nights

I know this is quite the statement to make, and perhaps a bit too hyperbolic, but I believe Boogie Nights may have the best cast of any film. Ever. Top to bottom, this film is absolutely filled to the brim with stunning personalities and unforgettable performances. A true ensemble where every single character is provided an immensely rich and compelling story to tell. A true ensemble. Now the biggest detractor for Boogie Nights is that yes, structurally, you can basically call this Goodfellas but with porn. And that's fairly accurate. But this paints such a vivid portrait of so many colorful characters that the narrative structure is almost second to the world Anderson creates with his actors. It's detailed and personalized in a way that Goodfellas, as flawless as it seemingly is, just isn't. And somehow this film dabbles in virtually every genre seamlessly without drastic shifts in tone. It's utterly remarkable and indefinably great. Truly something you have to experience for yourself.

#2. Punch Drunk Love

After juggling massive ensemble casts for his previous two films, Anderson took a more focused approach with his fourth feature and narrowed in on a budding relationship between two untraditional leads and more so than any other film ever has (at least in my opinion) captures the dizzying emotional rollercoaster of how it feels to fall in love. It's amazingly well shot, impeccably paced and hilariously well written. And yet none of that matters if Adam Sandler doesn't deliver the most compelling performance of his career - which of course he does. In his first true dramatic role, Sandler crushes it as the insecure, neurotic, hopeless romantic with more than a few anti-social quirks. And let's not forget Phillip Seymour Hoffman (yet again) absolutely thriving as the villainous embodiment of sleazy, manipulative, abusive relationships playing foil to Sandler's innocent yet vulnerable protagonist. One of the most stunning films you'll ever watch and at a brisk 90 minutes, one that begs to be seen again and again.

#1. There Will Be Blood

As much as I wanted to, there's really nothing else that deserves to be at the top of this list. After the comparatively lighter dramedies Paul Thomas Anderson started his career with; the director returned from a 5 year absence with a classical epic for the modern age. His regular cast of buddies is nowhere to be seen and rather than another deeply emotionally charged examination of relationships - Anderson sets his sights on constructing the most grim and accurate portrayal of the parasitic nature of American capitalism since The Godfather. Starting with a black screen and a dissonant orchestral backing, Anderson is chronicling the root of American greed the same way Stanley Kubrick chronicled mankind's relationship with technology in 2001: A Space Odyssey. With Daniel Day Lewis' portrayal of prospector Daniel Plainview serving as the absolute perfect vessel to convey imperialized industrialization. In a career of outstanding performances, Daniel Day Lewis may deliver his absolute best here and even more stunning is the fact that relatively young in his career - Paul Dano absolutely holds his own, going toe to toe with the tour de force living legend. The photography is superb, Jonny Greenwood's score is absolutely mesmerizing and the oil derrick catching fire at sunset may be one of the most enthralling sequences ever put to film. It's an absolute masterpiece and the closest thing to a perfect film we've received this century.


コメント

bottom of page