Rotten Tomatoes: 100% (9.10 in average rating) with 13 reviewsMetacritic: 93/100 (10 critics)As with other movies, the scores are set to change as time passes. Meanwhile, I'll post some short reviews on the movie.At its best, Licorice Pizza demonstrates a lightness of touch that hasn’t been so evident in Anderson’s work since Boogie Nights, nowhere more so than in the fabulously lived-in scenes with Alana and her family, played to considerable amusement by Haim’s actual sisters and parents. But the thrilling propulsion of Boogie Nights is matched here only in fits and starts. The movie, particularly in its meandering second hour, often leaves you wondering where it’s going, more in frustration than curiosity.-David Rooney, The Hollywood ReporterIn “Licorice Pizza,” time isn’t something that keeps people apart — it’s the only thing that allows them to find each other in the first place. And this euphoric movie doesn’t waste a minute of it.-David Ehrlich, IndieWire: AThis is lighter and sunnier than previous Anderson pictures; subtract the porn and indeed the sex from "Boogie Nights" and you have something like it; remove the metaphysical anxiety from "Inherent Vice" and that comes reasonably close, too. It’s such a delectable film: I’ll be cutting myself another slice very soon.-Peter Bradshaw, The Guardian: 5/5There’s an extraordinary ensemble here, but it’s these two untried leads who elevate “Licorice Pizza” to the joyful, engrossing experience that it is. It’s certainly of a piece with Anderson’s filmography — the romanticism of “Punch-Drunk Love” meets the terrain of “Boogie Nights” — but it’s altogether a one-of-a-kind delight from a daring and always-surprising filmmaker.-Alonso Duralde, The WrapIn a world of algorithmically sorted content, Anderson’s ninth film, and his first since 2017’s Phantom Thread, is irresistibly hard to pin down: you’d have to go back around 50 years, to the likes of Hal Ashby’s Shampoo or Peter Bogdanovich’s The Last Picture Show, to find another that runs on a similar kind of woozy clockwork.-Robbie Collin, The Telegraph: 5/5As a title, Licorice Pizza suggests something revolting, a mix of the medicinal tang of anise and the greasy salt of a cheap slice. If that were the intended association of the filmmaker, Paul Thomas Anderson, it wouldn’t come as a surprise. Over his brilliant, wandering career, Anderson has shown us plenty of scuzz and grime, alongside flashes of kinetic verve and primordial howl. But Licorice Pizza is, by some measure, his most deliberately pleasant film to date. It’s a lively, messy coming-of-age story which turns the clashing elements of its title into reflections of a certain youthful folly and daring, a penchant for base gross-out humor and big, revolutionary thinking. Licorice on pizza? Why not, when you’re young and feeling free?-Richard Lawson, Vanity FairLicorice Pizza delivers a piping-hot, jumbo slice-of-life look at how it felt to grow up on the fringes of the film industry circa 1973.-Peter Debruge, VarietyIt should be said, it’s possible normies, and non-PTA devotees won’t want to worship at the altar of this somewhat rootless and musing film and some traditionalists might leave feeling a little bewildered by its slack structure. But if you’re open to its unconventional, idiosyncratic flavors, “Licorice Pizza” is a wonderfully wistful and evocative ode to youth, done by a masterfully poised filmmaker who doesn’t really care if this ain’t your bag. All our welcome and invited, of course, but PTA’s mellow and balmy effort feels like it’s enjoying itself too much to care if you haven’t caught on to its whole-hearted drift.-Rodrigo Perez, The Playlist: B+PLOTIn 1973 San Fernando Valley, teenager Gary Valentine meets Alana Kane, a young woman in her 20s and photographer's assistant, at his high school on picture day. They become friends, start a waterbed company together, audition for films, and get involved with Joel Wachs' mayoral campaign. They navigate a changing time politically and culturally while also dealing with a gas crisis. Valentine and Kane's journey leads to them interacting with figures of both Old and New Hollywood, including Jon Peters and Jack Holden.WRITER/DIRECTORPaul Thomas AndersonMUSICJonny GreenwoodCINEMATOGRAPHYPaul Thomas Anderson & Michael BaumanEDITORAndy JurgensenBUDGET$40 millionRelease date:November 26, 2021 (limited release)December 25, 2021 (wide release)STARRINGAlana Haim as Alana KaneCooper Hoffman as Gary ValentineSean Penn as Jack HoldenTom Waits as Rex BlauBradley Cooper as Jon PetersBenny Safdie as Joel WachsNate Mann as BrianJohn C. Reilly as Fred GwynneChristine Ebersole as Lucille DoolittleRay Chase as Radio DJMaya Rudolph (undisclosed role)Skyler Gisondo (undisclosed role)Mary Elizabeth Ellis (undisclosed role) via /r/movies https://ift.tt/3Dmo2fZ
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