![]() ![]() The best part of the movie, by far, is the segment where Bradley Cooper plays a lascivious and self-absorbed hairdresser-turned-producer John Peters. He's trying so delicately to recreate a feeling of time and place of early 1970s Los Angeles, but the movie doesn't succeed in answering why anyone else should really care about this personal PTA slice of nostalgia. I don't see the larger thesis or theme in many of Anderson's small asides. They're just kind of annoying and maybe that's the point about looking back. Hoffman's character, based in part on Tom Hanks' childhood friend and producing partner Gary Goetzman, is like a human puppy dog, so overwhelming and sunny and anxious to be liked, but I can't see any more depth to him or her. She's petulant, needling, prone to jealousy but also clearly likes the attention but doesn't know how far to test it. I found Haim's character to be generally unlikable and, worse, uninteresting. He's crushing on her, she's flattered but says it's not appropriate, and over two hours we watch a series of meandering episodic adventures that test their will-they-won't-they determination. Alana Haim plays Alana, an under-achieving 25-year-old looking to better define herself, and Cooper Hoffman, son of the late Phillip Seymour Hoffman, who appeared in five prior PTA movies, plays an over-achieving 15-year-old that is in a hurry to grow up and conquer the adult world. I'm not certain I needed or wanted to watch either of our lead characters navigate the curious bounds of their possible romantic entanglement. hangout movie, but the axiom of hangout movies is that they only really work if you actually want to hang out with the participants onscreen. It's writer/director Paul Thomas Anderson's (Phantom Thread, Boogie Nights) nostalgic L.A. It took me many months but I've finally watched the last of the 2021 Best Picture nominees, and now I can safely say, I just don't understand all the love for Licorice Pizza. ![]()
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