A fight after a fight
Cast: Leonardo Dicaprio, Scene Paine, Benisio del Toro, Regina Hall, Tayana Taylor, and Chase Infinity
Director: Paul Thomas Anderson
Rating: ★★★★
There is a scene in a battle after another, in which a female officer (Scene Pen) Ogles in a female revolutionary is finding some distorted happiness in a female revolutionary because the woman makes other soldiers hostage. Most of the directors must have suffered to object roughly to the woman in this scene. But Paul Thomas runs through Anderson. Even in a scene seen in a scene in a scene, he gives strength to the woman. He, perhaps, sets the tone of the film. One of the battles after another is scattered and the batshit is crazy, more often in the field of coen brothers than Paul Thomas Anderson Zone. But despite this, it is a sensitively painted satire on modern America with political undertakings and some spectacular performances.
Plot
One battle after the other opens with the Jewish Basti Pat (Leonardo Dicaprio), a bombmaker and a revolutionary group, a member of the French 75. He is involved with the group leader, Perfidia Beverly Hills (or just sexually). As his revolution against an autocratic government, Perfidia Captain (Later Colonel) Steven J. The purpose of meditation becomes for the locks (scene pen). He is eventually arrested, and Pat goes on a run with his daughter, Charlein. 16 years later, as father and daughter live in hiding their lives, locks are visible again. A new political opportunity means that they need to clean their dirt, and killing both is at the top of that list.
https://www.youtube.com/watch?v=feoqfkv2Lw4
Revolution on cellulide
Despite the 2-hour-50-minute runtime, one battle after another is tireless, just as the film with that title should be. It has an irreversible tone that can be confused to the derogatory, but more satirical. The trick is that while the story jokes everything, the characters do not. For them, this is life and death. Comedy is with them, not because of them. Paul Thomas Anderson is entitled to the credit for almost balanced the Makabre and satire.
The view appeal of the film increases its clock. There are many sequences that jerk you, and some that hit you later. A special car pursuing sequence towards the climax is shot in a motion-ill-comprehension style through the up-a-and-down curved roads of the American midwest, cherry on the cake.
Scene pen, tin teller shine; Leo is sublime
Teana Taylor catches you by the caller in the first 20 minutes of the film. His No-Hold-Vignous depiction of a crazy revolutionary is away from the chart and is extremely fun. Sean Penn then took over. He is as unfamiliar as he is unusable as racist, vioristic solder, which only sees Perfidia as a means to the end. Penn has given some great performances in cinema history over the years, and this is very good with him in the hall of fame. The actor not only captures the way of locks, but also has morale.
Film review
One fight after another
Former revolutionary Jewish Basti Paul (DiCaprio) should protect her adolescent daughter from a destruction, which wants to eliminate her to ‘immaculate’ her past.
Director
Paul Thomas Anderson
Mold
Leonardo Dicaprio, Sean Paine, Benisio del Toro, Regina Hall, Tayana Taylor, and Chase Infinity
Decision
This involuntary-until now with Paul Thomas Anderson sensitive political satire due to his balanced tone, luxurious cinematography and exemplary demonstrations, especially from Leonardo Dicaprio, Sean Paine and Teen Taylor.
Daughter is a great discovery as chase infinity. The actor holds his own against experienced actors and has an emotional spine of the film. You feel his anxiety and his fear, which is an actor’s biggest win. Perhaps the most difficult task among the artists was Leonardo Dicaprio. He is a hero during not being one. Pat is a washed drunkard who is not someone’s savior. He needs to become an anchor of the story, causing him to beat him by other and more fiery characters. But give him an inch, and DiCaprio reminds you why he is one of the best actors of his generation. He beautifully anchor the film, which keeps you engrossed, even inviting Daya. A pathetic and sorry hero is a difficult thing that is liked. But as he has done in the first departed and has not seen above, Leo again attains excellence there.
But despite fun and games, one after the other is political for the fight core. It makes fun of racists, spoils immigrant preventive camps, a government is run by anti-immigration blue-eyed boys, and touches subjects such as abortion and racial ‘purity’. And despite being so political, the film has the courage to make fun of anarchy and violent revolutionary strategy. Yes, the film takes a clear stand. But no one is spared in party and ideological lines.