Flip through the latest issue of Gulf Weekly.
Paul Thomas Anderson's strange and potent epic about oil and greed pushes at the boundaries of cinema, says Peter Bradshaw
There have been plenty of times when I have choked up at a sad film (Nanni Moretti's The Son's Room, When She Loved Me from Toy Story 2) but this is the first time I have twitched off my glasses and openly and unapologetically cried in the cinema auditorium.
