|“The only way to defend ourselves is to attack.”|
By Michael Nordine
In San Francisco, when a film is referred to as “70mm” it usually means that Hitchcock's Vertigo is playing again. New releases in the format — which, as implied by its name, is a type of film stock larger and more expansive than standard 35mm — are relatively rare these days, with most effects-driven movies opting for 3D or IMAX instead. So when it was announced that The Master, Paul Thomas Anderson's long-awaited followup to There Will Be Blood, would be opening in that most high-resolution of formats, many a cinephile was tantalized.