Reviewed by Max Foizey.

Release Date: January 18, 2008
Directed By: Paul Thomas Andersen
Starring: Daniel Day-Lewis, Paul Dano, Dilon Freasier
Rating: R

E! Online film critic Ben (son of Jeffery) Lyons was quoted on the poster of Will Smith's "I Am Legend" saying it was "one of the greatest films ever made." Wow. Really? So it's right up there with "Casablanca?" I don't think so, Benny.

I bring up Mr. Lyons' quote because I'm about to step out on a similar cinematic limb, but I think mine has more solid footing. Here I go. "There Will Be Blood" is simply one of the greatest films ever made. I reject any claims that this is hyperbole on my part. I sincerely feel Paul Thomas Anderson's picture deserves a spot alongside such classics as "The Godfather," "Psycho," and "Citizen Kane." 

Daniel Plainview (Daniel Day-Lewis) is a silver miner turned oil man at the turn-of-the-century. He travels from town to town with his son H. W. (the remarkable Dilon Freasier) and promises the world if they let him drill for black gold.

Plainview gets a tip from one Paul Sunday (Paul Dano) about an untapped town, and he and his son set out for 'Little Boston.' There they meet Sunday's twin Eli (confusingly, also portrayed by Dano).

Eli is a young preacher in town, and it's evident he feels threatened by Plainview. Sunday feels the church (and by proxy himself) should be the focus of the townspeople, not the prospects of profits from an oil man. Thus begins the struggle between the two men.

Plainview is an ambitious monster of a man, but not entirely dishonest, either. He has his business principles, but he seems incapable of loving another human being, including his own son. When he meets someone claiming to be his long-lost brother (Kevin J. O'Connor) the results are, well, telling.

The most surprising thing about the film is how little it feels like a Paul Thomas Anderson film. You won't see the cast he usually uses, you won't hear pop songs, there are no dizzying Scorsese-esque edit jobs. Instead Anderson ("Hard Eight," "Boogie Nights," Magnolia," and "Punch-Drunk Love,") shows a heretofore unseen affinity for Terrance Malick and Stanley Kubrick.

The striking score comes courtesy of Radiohead guitarist Johnny Greenwood, who conducts his orchestra like he's playing an axe on Pluto, and Pluto is still  pissed it's not considered a planet anymore. You'll understand when you hear it.

Anderson adapted the screenplay from Upton Sinclair's novel "OIL!," but only the first half, as the character of Daniel Plainview insisted on having his own film. (Plainview takes a backseat in the second half of Sinclair's book.)

As Plainview, Daniel Day Lewis gives the most assured, convincing, menacing, bravura performance I've ever seen on film. It's one of, if not the, greatest performance in film history. The Academy should give him "Best Actor" at this year's Oscars, then retire the award forever.

Paul Dano is impressive as Eli Sunday, and holds his own remarkably well in his scenes with Day-Lewis. But as good as Dano is, it's impossible to give him equal praise. Imagine if Jesus Christ was starring in a film opposite Mother Teresa. Sure, Momma T. would be excellent, but he's JESUS, you know? That's how it is between Dano and Day-Lewis.

My only nitpick with the film has to do with aging. Plainview and Sunday meet again after many years, and Plainview looks older, haggard. But Dano's Sunday looks like he hasn't aged a day. It's distracting to the scene, and I wish they would have at least given Dano a beard or some gray streaks in his hair.

Even with that small gripe, this is without a doubt the best film I have seen in many years. There's a similarity with other films about the rise and fall of an obsessive capitalist; call it the Trilogy of the American Dream: "Citizen Kane," DePalma's "Scarface" and "There Will Be Blood."

Mr. Lyons, I. Drink. Your. Milkshake.

In addition to hosting 'Max on Movies' every Saturday at 2pm on 97.1 FM Talk, Max appears weekly on the Dave Glover Show Fridays at 5pm. A member of the Saint Louis Gateway Film Critics Association, Max has appeared on nationally syndicated radio shows, and written about film for various print and online media. Max listened to Fiona Apple's latest album while reviewing Paul Thomas Anderson's latest film. Is that a conflict of interest? E-mail him at mfoizey@stl.emmis.com