As you can see from the other reviews on this site, "Magnolia" is receiving a pretty 50/50 "loved it/hated it" reaction. I'm on the side of loving it. There are two main factors which contribute to folks' reaction, both negatively and positively. First, some are frustrated by the fact that the individual stories do not meet up in the end, that they aren't linked together in one huge scene where every character and situation comes together for a nice, tidy resolution. To that, I would point out that the stories ARE all linked together - thematically. Each of the pieces share common emotions and themes. They are all of a piece, though it may not be apparent to those who have had their senses dulled by the same old, tired Robert McKee story structure and must be spoon-fed themes and messages. Second, many view the big incident at the climax (which I will not give away, though many have already figured it out thanks to several loose-lipped reviewers) as a cheap stunt which takes the place of a disciplined, structured resolution. Again, this incident is completely in line with the theme Anderson has set up... it's surrealism (though based on an actual incident) is a treat, a masterstroke, a gift to those who don't mind being blindsided by something wholly original coming out of left field (I wish I could elaborate without spoiling it for those who haven't seen the film). Despite dealing with very emotionally-charged subjects, P. T. A. refuses to manipulate his audience. Unfortunately, many who are used to being manipulated by most Hollywood junk feel they are seeing something dull onscreen in the absence of clear, dramatic signposts ("okay, time for everyone in the audience to cry now!"). And, best of all, Anderson consistently casts incredible actors who seldom get their proper due (like "Close Encounter's" & "A Christmas Story's" Melinda Dillon, "Laugh In!" & "The Blues Brothers" Henry Gibson, Michael Bowen, and P. T. A. vet Melora Walters) and writes parts for them which allow them to go for broke. Some accuse Anderson of being "addicted to excess," but I feel his films are bold and brimming with life. I'll take this film over "Notting Hill" (ugh) any day. People who are complacent in their little "feel good flick" worlds where everything is spelled out in big, bold letters will be utterly lost. This film SHOULD be nominated for several Oscars, though it's difficult to say who gives the best performance as it is such an ensemble piece. Yes, Cruise has one of best roles to date, but he is by no means the top draw here. "Hard Eight" and "Boogie Knights" alumni John C. Reilly, Philip Baker Hall, Julianne Moore, Walters, P. S. Hoffman, W. H. Macy, Luis Guzman, Alfred Molina, & Ricky Jay all tear it up, as do Anderson newcomers Jeremy Blackman, Jason Robards, Gibson, Bowen, and Dillon. One of the best films of the year, a worthy successor to P. T. A.'s previous works, and a film which will incite debate and discussion long after you've seen it.
