By Gregg Shapiro

Contributing writer

In theaters



“There Will Be Blood” (Paramount Vantage)—Paul Thomas Anderson continues his cinematic love affair with California in “There Will Be Blood.” Based on the Upton Sinclair novel “Oil!,” Anderson’s epic adaptation opens in 1898 with determined miner Daniel Plainview (the remarkable Daniel Day-Lewis) overcoming obstacles to get what he wants.

A few years later Plainview is making a name for himself in the oil-drilling business. He’s a shrewd businessman who suddenly finds himself becoming a father to a baby boy when one of his men is killed. By 1911, with young son H.W. (Dillion Freasier) in tow, the plainspoken Plainview is striking deals with townspeople to mine their land for oil. Shortly thereafter he is approached by Paul Sunday (Paul Dano), a young man whose family farm in Little Boston, California, appears to be sitting on oil rich land. Daniel and H.W. then head to California. Arriving at the Sunday ranch on the pretense of doing some father-son hunting, he determines, in fact, that there is oil to be had.

Daniel poses the question, “Can anything around here be gotten?” Before you know it, he is once again in business. But not everything runs smoothly, especially when another of the Sunday boys, religious fanatic Eli (also Paul Dano), gets involved in the business dealings and finds a way to get money to build a nearby church. Daniel and Paul’s contentious relationship, often the film’s only source of humor, is at the heart of the story, illustrating, among other things, that business and religion ought to be kept separate. Also central to the story is Daniel’s role as a fatherhood, which becomes compromised when H.W. is seriously injured during a drilling incident. Finally, as essential as the characters themselves, the soundtrack by Johnny Greenwood (of Radiohead), takes its place alongside the other acclaimed soundtracks to Anderson’s films and deserves praise for the role that it plays.



“27 Dresses” (20th Century Fox)—With the genuinely funny and starry-eyed romantic comedy “27 Dresses,” Katherine Heigl swiftly and effortlessly crosses over into vintage Julia Roberts territory. Think “My Best Friend’s Wedding” minus anything remotely gay.

Since age eight, Janie (Heigl) has loved weddings. She still loves them so much as an adult that she does something as kooky as standing up at two weddings, one in NYC and one in Brooklyn, on the same day at the same time! Born to be a bridesmaid, Janie has a closet full of dresses (27 to be exact) from the weddings at which she has been in the bridal party. She’s also obsessed with Malcolm Doyle, a writer for the wedding section of the New York Journal, whose pieces have the ability to bring her to tears. After sharing a cab with wedding cynic Kevin (James Marsden), Janie accidentally leaves her Filofax behind, leading him to track her down to return it to her, but not until after thumbing through it.

You see, Kevin is really Malcolm, and when he gets a load of Janie’s wedding-related schedule, he smells a story. After pitching it to his hard-boiled editor Maureen (Melora Hardin), he get the go-ahead to pursue the piece. Meanwhile, Janie has been nursing a crush on her boss George (Edward Burns), who appreciates her but doesn’t show the least bit of romantic interest. This is something made clear to her by best friend and co-worker Casey (scene stealer Judy Greer) and the untimely arrival of her perky, blonde man-eating kid sister Tess (Malin Akerman). With George falling for Tess and persistent Kevin in pursuit, Janie faces a romantic crisis of nearly immeasurable proportions, especially when George proposes to Tess. Hilarity and heartache ensue. Even without Channing Tatum to look at, “27 Dresses” is a definite “step up” from director Anne Fletcher’s previous effort.



Limited runs



The Chicago premiere of “American Zombie,” by acclaimed documentary filmmaker Grace Lee, is screened Jan. 18 at 8 p.m. and Jan. 21 at 6 p.m. at the Gene Siskel Film Center, 164 N. State.



The Gene Siskel Film Center, 164 N. State, presents the Chicago premiere of “Note By Note: The Making Of Steinway L1037,” about “the wondrous process of creating the glossy, black,
 nine-foot-long concert-grand,” Jan. 18-24.

“POPaganda: The Art & Crimes of Ron English,” featuring the art of Ron English as well as Shepard Fairey, ArtFux, Cicada, and Anthony Ausgang, is screened Jan. 19 at 8 p.m. as part of the Art Docs Series at Chicago Filmmakers, 5243 N. Clark.