Licorice Pizza

Another one of Anderson's films telling the story of complicated characters to whom he adapts his optics of perception. If you’re not already capable of developing the empathy needed for the film (even beyond your sympathies), you will absolutely not understand what he is asking you to do and will probably find the film maddeningly irritating. But fortunately for you, there are those other films. (20/06/2022)

Paul Thomas Anderson has a made an inconspicuously brilliant fresco of the fringes of the show-business world of 1970s L.A., where the glow of the really big names is seen only from a distance, but is thus all the more enticing to all possible bizarre characters comprising washed-up stars, dilettantes, grown-up child actors, fallen showmen and over-aged talent scouts. Thanks to the brilliant directing and meticulous casting, every character gives the sense of a full life lived, even if he or she only flashes by in a single scene or shot. Mainly, however, Licorice Pizza is a perfectly observed ode to the ambivalent relationships and promises of young love. (06/01/2023)

Paul Thomas Anderson will probably always be a three-star director for me. His style doesn't correspond to my preferences and what I like. On the other hand, in this particular case, besides labeling the film as strange, I would highlight the very precise capturing of the period atmosphere enhanced by the musical element, nice camera work, and bizarre humor. The central duo didn't resonate with me, although I understand the author's direction that he didn't want to cast the film with a poster actress and actor. So hopefully, someday, one of Mr. Anderson's creations will knock me off my feet... (29/03/2022)

Nothing groundbreaking from the director this time. The story revolves around uninteresting people doing incredibly uninteresting things. Alana Haim didn't impress me at all, whereas Cooper Hoffman not only resembles his father but also delivers a fantastic performance. The only standout is the period soundtrack, which Paul Thomas Anderson always nails. Some supporting roles, especially Bradley Cooper’s, add a bit of excitement to the otherwise dull proceedings. Fans of Anderson's films and his stories about seemingly insignificant people will probably be satisfied as usual. (08/01/2023)

Once Upon a Time in Hollywood without the star power of the lead actors. And no grand climax. The period of 1970s Los Angeles is portrayed as brilliantly as in Tarantino’s film, even with the inclusion of snippets of songs on the radio in the soundtrack, but the screenplay is average. More than two hours of a young couple hanging out, generating sparks but never getting together is neither sufficiently cute, funny nor romantically gratifying. The ego-eccentric Bradley Cooper’s minor role is the only one that stands out and evokes emotion to the point of tension, though unfortunately only briefly. (22/04/2022)