LA LA Land joins the ranks of other great, hard-working musicals that sit on the periphery of the cinema landscape, pulling big numbers and high praise in a refreshing reminder that superheroes aren’t the only people jumping around in spandex on screens these days.
When boiled down, every Paul Thomas Anderson movie is about an outsider looking in. ‘Boogie Nights’ is about breaking into a scene. ‘Punch-Drunk Love’ is all about sitting outside normal human relationships and peering in. ‘The Master’ is a search for direction and place to belong. For a filmmaker who thrills at confronting personality flaws [...]