Justin Chang’s review of Paul Thomas Anderson’s new movie; I loved this paragraph…
The film’s opening half hour is loud, tense, and extraordinarily propulsive: we follow the French 75 through raids, robberies, blown-up buildings, and smashed-up cars. Compounding the cacophony is a Jonny Greenwood score that veers between manic percolation—imagine a xylophone humping a coffeepot—and grandly operatic surges of synth. The music sweeps us up in the queasy thrill of revolt, but also in the heat and momentum of an impetuous romance. Perfidia and Pat are like an Antifa-pilled Bonnie and Clyde, minus the impotence.
Emphasis mine.