*** SPOILER WARNING ***
As with many of Paul Thomas Anderson's movies, we are introduced to a world so immaculately and painstakingly presented and with such exquisite attention to detail that we start to wonder if the movie isn't based on historical fact - perhaps the fashion house of dressmaker Reynolds Woodcock really existed in 1950s London and really was rocked by the arrival of a lover and muse, Alma, who not only really was but was able to tolerate, unlike those before her, Woodcock's ego and control - and then, at the point Anderson's world-building gives way to narrative development, the wheels of his elegant sportscar fall off and we are left wondering why an isolated case of Munchausen's Syndrome requires such elegant, elaborate treatment, truly a beauty to behold.
★★★★☆
CINECAL: ONE SENTENCE REVIEWS
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