2 items from 2011
Chicago – The cinema of Terrence Malick has been a process of discovery, for its director and his devoted audience. His work is fueled by spontaneous miracles, typified by the moment when an illuminated cloud formation creates an image of astounding, temporary beauty. His films aren’t just breathtakingly brilliant and hauntingly provocative. They’re also curiously soul-cleansing.
Malick’s fluid gaze and restless imagination requires an adventurous cinematographer to assist him in fully exploring the world of his movie during production. Nature itself becomes a major character on his canvas. The filmmaker makes no secret about his love for the trunks of towering trees, the movement of the wind through tall grass, the look of bodies underwater. His childlike reverence for earthly creations is utterly intoxicating, and has routinely reawakened my own awe of existence. Yet beauty also takes on an ominous quality, providing an ideal hiding place for menace. »
- firstname.lastname@example.org (Adam Fendelman)
I have a bone to pick with many of today's films critics. Every time a director shows up at a film festival with a slow paced, meandering film critics of all stripes immediately compare that filmmaker to the legendary Terrence Malick, a filmmaker who is perhaps the most misunderstood of the last 50 years.
Sometimes the comparisons are obvious and actually make sense. Andrew Dominik's The Assassination of Jesse James by the Coward Robert Ford did seem to be the bastard child of Badlands and Days of Heaven, but most of the time, as with recent efforts by New York filmmaker Kelly Reichardt and this year's Sundance film Little Birds, the Malick reference seems tangential at best. It seems to simply be shorthand for a movie that is meandering in narrative and lugubriously paced.
This makes me wonder which Terrence Malick these critics are referencing. It certainly can't be the »
- Bill Cody
2 items from 2011
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