By Thomas Puhr
Daniel Day-Lewis gives a quietly intense and vulnerable performance as Reynolds Woodcock, an obsessive fashion designer, in what will be his final film. There is much to admire here, from the sumptuous costume design, to a hedonistic, almost surreal New Year’s Eve party, to some beautiful footage of Woodcock’s reckless nighttime drives (Anderson is the uncredited director of photography). The film’s second half, detailing the protagonist’s unconventional relationship with his muse/wife, Alma (Vicky Krieps), is its most engaging, especially when the writer-director dips ever-so-slightly into supernatural territory. Ultimately, like its central character, Phantom Thread remains aesthetically fascinating but emotionally remote.