This is Paul Thomas Anderson shooting for modern-day Kubrick, not just heavily influenced by like Punch-Drunk Love, but he ends up going so far beyond that by retaining his usual own singular sense of self. Probably best described as a deceptively savory treat, but one that contains a deviously tart filling. Effortlessly oscillating between tones and coddled together by a next-level great Jonny Greenwood score. So fiendishly nasty, intensely romantic, darkly comic and boundlessly twisted without ever taking itself too seriously. I do not know how such a remarkable mind like PTA comes up with such incredible lines, dynamic narrative and character frameworks and layered dialogues, but there’s a lot of that again. The period setting acts almost as a farce in quite way I have never seen portrayed across the medium before, while the visual compositions are absolutely breathtaking and feel of a different era, yet what lies underneath, the actual content, is pure PTA. The first time I saw, I thought some of the movie’s psychology was being very ambiguous, but rewatching there’s so much necessary foreshadowing. It’s an honest to god masterpiece, and will undoubtably be admired and studied for decades to come, and I might even prefer Daniel Day Lewis here to There Will Be Blood!