Without the popcorn, sitting in a movie house watching an Art Film can be almost a religious experience. This observation emanates directly from the confessional as I reflect on an afternoon with Daniel Day-Lewis at PHANTOM THREAD, supposedly his swan song for screen acting. Listening to the piano concertos or the grand strings of the Royal Philharmonic Orchestra, both underscoring the film, give this observation resonance as does the religiosity observed by the central character in pursuit of perfection at the House of Woodcock. This celluloid creation could just as easily have been chronicling a priest raising the Eucharist in a cathedral.

That reverence envelops the entire film PHANTOM THREAD, a critic’s favorite. It manifests in the lush musical underscoring. It manifests in the lucid colors and delicate camera angles of some glorious Cinematography. It manifests in Mark Bridges’ couture Costume Design for the 1950’s Eisenhower Era across the pond. It manifests in the elegance of Veronique Melery‘s Set Decoration. And It manifests in the extraordinarily detailed performances of notoriously fixated Daniel Day-Lewis and relatively unknown Vicky Krieps along with, secondarily, the taciturn Lesley Manville.

All of this wonderfulness owes its existence to the brilliance of Paul Thomas Anderson who is at the helm of this 35 million dollar movie as Director, but also its Screenplay Writer and Cinematographer. Might  he also be one of its Executive Producers for all intents and purposes (although uncredited)?

The plot centers on the genius of  Reynolds Woodcock (Daniel Day-Lewis) at the head of THE fashion institution in London. His creations adorn the most high profile ladies in Europe including those anointed as famous,socialites and even royalty. His reputation precedes him wherever he travels. The peculiarities of his personality endure, often revealing destructive, fragile insecurities generally soothed and held in check by his devoted sister Cyril ( Lesley Manville). Then he meets Alma (Vicky Krieps), innocent and unsophisticated, slowly discovering his muse as he sails into the tumultuous waters of the tunnel of love.

Since the movie dabbles in character study more than anything else, a few other observations here. Reynolds, at times, behaves as if he oversees the sniveling masses from atop Mt. Olympus. On other occasions one can imagine him ensconced in a dark corner of his mansion with thumb shoved in his mouth crying a waterfall. He is irascible, infantile, powerful, and abusive. Imagine someone with an inordinate number of idiosyncrasies who remains helpless to control them. This is the Reynolds Woodcock lording over the fashion industry with Cyril always nearby to rescue him.

Until she is shoved aside from that dominant role. There is a new girl in town, willing to be subservient to his whims. Alma begins the film in the throes of intimidation and a seemingly unhealthy attraction to an unstable maniac at times. Breakfast time simmers with a rumbling explosiveness, ready to blast her out of the front door at any moment. But eventually she learns…and her devotion ultimately knows no bounds. Mushrooms play a role here (just a tease!).

In a key moment in the film her piety comes full circle as she seems to have an epiphany about her man’s needs. Cyril’s stand-in assumes his mantle and recovers the “vestments” from an unworthy custodian of a House of Woodcock creation. She has captured his heart as he looks on with admiration. One can almost hear the pipe organ in crescendo during this scene.

Is this film viewing experience for you? It could be, I suppose. Dark love may be somewhat titillating for a portion of moviegoers.  PHANTOM THREAD, though, is an Art Film masquerading as a big budget feature. For me, I found myself squirming in my seat after I had abandoned my ardor for character analysis. Apparently I had become bored kneeling at the altar of Daniel Day-Lewis.

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Fierce. No, I’m not dreaming about Beyonce. Actually, it’s Keala Settle who summons this apt descriptor. She positively radiates star power in her role as the Bearded Lady (Lettie Lutz) in “THE GREATEST SHOWMAN”. If this were a live performance, one could say that she “stops the show” with her anthem of self-acceptance.

I first became aware of her potential on the stage at La Jolla Playhouse.  She studied theatre in the nationally-renowned graduate program at University of California San Diego (UCSD). In particular, I remember with fondness her performances in HANDS ON A HARDBODY and SIDE SHOW. In this movie, therefore, I celebrate her breakout performance in the world of Cinema.

Leading the pack as P.T. Barnum in this high profile movie, Hugh Jackman triple threats his way to astonishing heights “one brick at a time”. Is there anything this man can’t do? And he gets to sing quite a few impressive Pasek & Paul songs. It must be admitted: Without Hugh, there isn’t a movie (that’s the long and short of it). Reason?The money people at 20th Century Fox would not agree to fund an 85 million dollar movie, and – let’s be honest – very few actors could carry a movie musical without this man’s skillset. Incidentally, Broadway geeks will recognize Will Swenson early in the film in the role of Philo Barnum.

The lovely Michelle Williams (Charity Barnum)  centers Phineas whenever his instincts send  him over the cliff as she nurtures his family in the midst of his chaotic life. The camera is in love with this lady no matter the project. A deserving focus to be sure. Their deep and abiding love creates tension in the screenplay penned jointly by Bill Condon and Jenny Bicks.

Leaving behind his legacy from the “HIGH SCHOOL MUSICAL” series, Zac Efron (Phillip Carlyle) offers a multi-layered performance as the playwright turned entrepreneur who steadies the erratic impulses of his eventual partner at the Barnum & Bailey Circus. Oh, and he didn’t even need to bare his chest this time (his movie “go to” as of late)!

Zendaya, as trapeze artist Anne Wheeler, thrills all with her aerial maneuvers, expanding her fans’ perceptions of the talent repertoire at her disposal. For this moviegoer, she serves as the biggest surprise. The public may be bowled over at the discovery of her acting range.

Joining Keala Settle among the panoply of special attractions in Barnum’s arsenal is Rebecca Ferguson as Jenny Lind (“The Swedish Nightingale”). If it isn’t already obvious, another voice handles the singing chores for this character. Sorry for the spoiler for some, but this lady with the powerhouse vocals (Loren Allred, a previous finalist on “The Voice”) deserves a smidgen of credit (at the very least).

Shout out to Ashley Allen and Shannon Holtzapfell who are responsible for the stunning dance elements in the production. When Barnum cries in his beer following the devastating fire, the cast manage to show him another direction without tossing in the towel. That resonant, athletic dance that amplifies this key scene is a sequence that lights a fire under the “Prince of Humbug”. A highlight of the film!

There has been a great deal of critical carping about the fact that Barnum in real life had been far from the humanitarian that he demonstrates on screen. Poppycock (I love this word!)! All film buffs actually require is a terrific story. Other concerns should manifest within the pages of a biography.

Cinematographer Seamus McGarvey paints some amazing picturesque moments. Take, for example, that magical scene as Barnum’s family cavorts among the hanging backyard sheets. Wow…just wow!

Director Michael Gracie pulls all of the disparate elements together. This achievement cannot be underestimated given the complexity of this venture. Is this movie destined to become a Broadway musical show? Stay tuned.

“THE GREATEST SHOWMAN” hits the bullseye in my estimation. A nagging question, though, shrouds my appreciation just a tad.  Tell me, where is Joice Heth, George Washington’s 161-year-old mammy, who happened to be a key attraction in the real P.T.’s stable of oddities? That would have been Side Show heaven!

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An earthquake? No, we’re talking dinosaurs. The little kid in me perks up. Ashley Reese, my super-talented granddaughter, holds her 16th birthday celebration at CINEPOLIS THEATER in La Costa for a showing of the film – you guessed it – JURASSIC WORLD: FALLEN KINGDOM.

Now this would not have been a movie that I would have chosen on my own. The Rotten Tomatoes rating and the Metacritic rating both hover around 50%; while apprehensive, I decide that I’ll make up my own mind. I am further heartened by the fact that audiences seem to be enjoying the film to the tune of 91%. And Steven Spielberg’s name attached to this blockbuster movie alleviates my concern as well.

It certainly doesn’t take too long to surmise why many critics have misgivings about this movie. Formulaic. There’s the free spirit, tough-as-nails heroic guy in love with a reluctant former girlfriend.  He comes through over and over again, just as she digs deep and shows her stuff repeatedly when the chips are down as well. Then there’s the sidekick lady with ice in her veins who always can be relied on and the wimpy nerd who is totally out of place in the environment, but shows he is not a loser after all. Let’s not forget an assortment of villains. Get the picture?

Acting is right on target. Chris Pratt (“Owen”) handles the heroic responsibilities with aplomb. Likewise, Bryce Dallas Howard (“Claire”) has just the right amount of passion and savoir faire to nail the contemporary female heroine. She can do it! The other coterie of supporting players also fill the bill for the most part. I have to admit, though, that I was a bit disappointed with the performance of stage veteran B.D.Wong as the unethical scientist.

While I found the premise at the core of the story a tad preposterous, the tale otherwise adheres to the suspenseful checkpoints in fits and starts.

In true Spielberg fashion, all the bells and whistles are sensationally realized. Sitting on the edge of one’s seat, along with required biting of nails, is part of the deal here.

And then there are those dinosaurs! CGI has come a long way; I was not disappointed one iota in the technical achievements of the film. These creatures rock my world. Get out the popcorn, although – let’s be honest – I’ve had my fill of dinosaurs now. How about you?

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History buffs, take note. The movie DARKEST HOUR is right up your alley. If “the war to end all wars” is to be explored, one could hardly find a more intriguing person to poke and dissect than Prime Minister Winston Churchill. A giant of enormous import to the resolution of World War II.

The story – and it is a “story” – centers on the first few weeks of Churchill’s tenure as Prime Minister of England as the German “blitzkrieg” overruns Europe. Why does he ascend to this position? What aspects of the onslaught come into play? What informs the man’s decisions? Are there opposing forces that attempt to thwart his aims within his own government? Was there a Churchill in public at odds with his persona in private? As usual, there exists some critical carping about the movie’s accuracy from the purists. Take it with a grain of salt. This movie engages the viewer with a masterful story, allowing an intimate portrait of a titan of World War II history.

Gary Oldman seems to be winning all of the major film acting awards and there’s good reason for that outcome; the nuances of his performance help to personalize a brick-solid image of the man emblazoned in our psyche from reading those dry history books throughout our schooling. The estimable talents of Dame Kristin Scott Thomas as his wife “Clementine Churchill” help to humanize this politician as well. Other key historical figures like Neville Chamberlain, King George VI and Lord Halifax also receive worthy treatment onscreen compliments of director Joe Wright along with a stable of talented actors.

One scene in the movie, in particular, amps up the movie-going experience for this reviewer. Supposedly, Churchill ditches his entourage and rides the subway on his own. He wants to gauge the general public’s resolve in confronting the menace of the Nazis even though the war effort up to that moment had not been fruitful. Terrific storytelling!

“Operation Dynamo” (the evacuation of 300,000 British soldiers from Dunkirk) revs up during this portion of the war effort, impressing with its thimble-eye view. Moment by moment, moviegoers explore Churchill’s choices and their personal toll on the one crushed with the burden of all those lives at risk under his watch.

DARKEST HOUR wows us with its taut, spellbinding account of war’s ignominy and triumph, not on the battlefield, but in the cradle of power responsible for how dark the conflict becomes as time passes – hour by hour and day by day. Expect a movie sequel and/or a stage play.

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The film charts the journey of this entrepreneur as he pursues a course for personal fulfillment, sadly treating his own daughter with disdain along the way.

Jobs’ undeniable success came with a cost. (btw, Steve Jobs, son of a Syrian immigrant, has had an enormous impact on our country with his inventions.) The movie features sharp dialogue which we have come to expect in a Sorkin screenplay.

I always have been fascinated by the work of the screenwriter Aaron Sorkin. I feel fortunate to have met him while he was fashioning his play, THE FARNSWORTH INVENTION, at La Jolla Playhouse.

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Saw a film tonight called 99 HOMES. Another version of the FAUST theme where a character sells his soul to the devil for wealth. If watching 99 families being evicted from their homes is a treat, wallow in this movie. Otherwise, suffice it to say, you’ll have to settle for a depressing story with first-rate acting.

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I was only vaguely acquainted with the man previously from his notoriety in the news associated mainly with the “MYRA BRECKINRIDGE” movie and the play THE BEST MAN which I had seen on Broadway.

This documentary, though, reveals an extraordinary life and some unique ideas celebrating a freethinker unlike no other. Give it a try.

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