No.6554 [Last50 Posts]
Is this good or is Terry Malick finished?
I've read nothing about it
____________________________
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No.6556
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No.6558
He's been finished since after the Days of Heaven
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No.6559
>>6558
Not even Thin Red Line anon?
Come on.
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No.6561
I liked Tree of Life (come at me) and Thin Red Line (don't remember much about it)
I never saw To the Wonder or the 2nd half of The New World (seemed pretty average)
I guess I'll watch KOC in the next week or two
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No.6566
It's more or less the same as his few previous films. Take from that what you will, but I disliked it. I dislike Lubezki too.
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No.6568
>>6566
> I dislike Lubezki too.
Do you mean in general? What don't you like about him?
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No.6570
>>6559
pretentious bullshit
still great visually but the pseudo-profound life truths were unbearable for me
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No.6573
Jesus, i came here to post this very same movie.
Just finished watching it.
Ive only watched TOL and TRL, but this was was his worst imo, very close to TRL tho. I liked them, i like malick style and editing. But there was something on this movie, that idk, it welt like a 4 hour film instead of the almost-2 hour that it is. It felt so so dragged and long. I dont know if it was his points, since its basically about the entire mind set of christian bale, but at the 3rd act it started to feel like a repetition of his previous movies.
>>6570
>2016
>using pretentiousness as a valid criticism
cmon anon.
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No.6576
>>6573
would you have accepted it as a valid criticism in the 90s?
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No.6582
>>6576
no. thats why it makes it even less valid
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No.6605
masterpiece, watched it last night on 600mg of dxm and got enlightened
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No.6612
Lubezki advertisement for Lubezki fans. Question is, they are already your fans, why do you need to make ads for them?
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No.6636
Bale sleepwalks through an immaculate urban environment, bangs some model, feels empty. Rinse and repeat. I can't begin to identify with that.
Water and flight are recurring themes but why?
Too much watching someone watch something.
My favorite element was the music. Kilar's Exodus was repeated over and over: https://www.youtube.com/watch?v=zvIB-g-8C1Q
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No.6640
>>6558
gtfo dumbass.
>>6559
The Thin Red Line is probably the most powerful WW2 movie ever made.
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No.6645
>>6640
>be able to stand malick's graphomania and the trl's amount of lofty gibberish without feeling embarrassed
>call someone who is not a dumbass
don't do that
perhaps it is if you consider only american movies
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No.6665
>>6636
> urban environment, bangs some model, feels empty.
the theme is purposefulness, meaningless.
You dont have to get into the shoes of bale and say "hey im not super rich so i cant relate"
yeah malick has a fixation with water, but i think its most a fixation with nature itself. He narrates his films as some bbc documentary would narrate some animal shit you know?
Its a bit sterile-mooded, but its precisely in that way he can get his point across.
the music is gr8 too
>>6605
>600mg of dxm
isnt that too much?
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No.6667
>>6665
> the theme is purposefulness, meaningless.
Yes.
BUT the character was unwilling or unable to make changes so it became harder for me to care as the film progressed. The loops of living out Vogue editorials and Dos Equis commercials end where they began. (And oddly enough the last spoken word in the film is "BEGIN".) A little character evolution (in any direction really) would have helped.
I probably missed some subtext because I didn't use subtitles, and a lot of the voiceover is quietly mumbled in the background.
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No.6693
>>6667
>the character was unwilling or unable to make changes so it became harder for me to care as the film progressed.
After watching the film for a second time this week, I disagree. He did made a progress in the character, I think it can be seem in the last scene on the film.
The film starts with Bale wandering in the dessert, but ends in him in a car trough the desert road, and I think that was meant as a way to say that he "found the way" "got his path str8" and so on.
I used subtitles and the opposite happened to me, the translation at the the end says "Echa un Vistazo" which translates to "Take a look". How and why did they translate that from Begin idk but the sond time I payed more attention to the audio and did hear this time Begin at the end. Curious.
But I think this was the film in which Malick's voiceover style at probably its best. The characters almost never really talked on screen, as saying that they didnt had the balls to say what they really mean or that they were speaking "trough their souls" instead trough their mouths.
I appreciate that Malick went berzek on this film and forgot all his craziness and just freeballed the shit out of it. Apparently there was no script, no history, no nothing. Malikck throwed a bunch of people together and just rolled the camara on to see what would happen.
Unlike with his previews films there was not a set of specification for screening, just "play it loud"
And I bet watching this with a surround sound system would sound amazing, the sounds on the cars passing by, the helicopter flying above, it was asmr-ish
man, I think i liked this one more than Thin Red Line tbh, maybe its just a bait from Malick to catch all the pretentious hipsters but he sure caught me.
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No.6695
>>6665
>isnt that too much?
it isnt nearly enough, my friend
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No.6901
Just saw this today and loved it, it might be my favorite of all his films. I have too many thoughts to contain and organize into a post so I'll probably write a blog or something about it and maybe link to it here if anyone cares. But I would encourage anyone who is on the fence to go and see it, it deserves to be seen on a big screen
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No.7098
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No.7105
I'm wondering which period of Malick's adult life the film reflects - all of it, or just the time around his early successes? What happened during his hiatus in the 80s and 90s, was he still active in industry social circles? I always thought he was more of a reclusive Texan than a sociable Californian, so it didn't occur to me that he might have spent time in the LA scene.
Two locations I was happy to recognize in Knight of Cups were the Stahl House and The Standard. Both are very cool in my book. They might be my favorite residential and commercial locations in the city. I'm not sure which backlot was used, maybe Paramount?
>>7098
> Rick pushes Natalie Portman against a bookshelf in a fit of passion; a bookshelf, which, on closer inspection, is actually just an image of a bookshelf. This detail draws attention to the illusion inherent in filmmaking, emphasizing that Malick himself, in his impressionistic remembering, is sculpting an ordered work out of his messy and chaotic memories.
Nice catch (and nice blog!). I'd forgotten about that detail. While I'm not as enthusiastic about the total package of this film, I like how Malick's editing style has become so fragmented.
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No.7111
>>7105
Thanks for reading the blog! I don't know too much about Malick's life honestly, I don't think most do, but what I've gleaned from IMDB and a few other sources, the Hollywood time of his life that the movie is probably drawing from is the early 1970s. That's when he wrote screenplays for a few successful comedies, which seems the closest to what Rick does in the movie. Christian Bale was asked about it in an interview and said something like "it's a scene Terry's very familiar with."
And I'm pretty sure the backlot is Warner Bros., I've been there and it looked to be the same one. Having spent some time in LA and recognizing some of the locations adds a bit of fun to the movie, although I would bet a lot of people probably recognize many of them without having been there too just from having seen them on film so many times
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No.7121
>>7111
What a great blog m8
But I have to disagree with the idea that Knights of Cups lingers in fiction and reality. I think that instead, its so real, so disturbingly grounded in reality that gives it a sense of transcendental.
Malick strips reality butt naked, and kinda shows that even at its fundamental its spiritual somehow.
He again and again removes the object and the subject from each other. The club scene without music, the voice overs, etc.
I think we can even call it a "presuppositional film" kek
Its hard to think another film more existential than this one.
And I think the contrast between the lost desert in the beginning with the clear road at the end, its that indeed Rick found "the pearl". Its very much existential in that its after man go trough angst that he becomes human.
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No.7127
>>7121
Thanks! I'm glad people are reading it.
In regards to the fiction/reality thing, I think we may be using the terms a little differently, and maybe I didn't express myself articulately enough in the blog, I have so many thoughts floating around about the film that its hard to organize them. When I say fiction, I mean both the "fictionalization" of Malick's own memories in the sense that every movie is fiction (even documentaries) because its mediated through the eye of the director/cinematographer/editor etc... and also, the handful of moments in which explicitly break with the realistic tone of the rest of the film.
In regards to the first, the traditional "fictionalization" aspect, you point out how he "removes the object and the subject from each other. The club scene without music, the voice overs, etc.", and I would consider that to be part of the "fictionalization"... he's gathering elements of reality and reorganizing them to fit his own vision. And Rick's version of reality is shown again and again to be an almost circus-like performance, through the many scenes of performative parties, studio backlots, and especially Las Vegas, which I think best epitomizes the unreality of his world, as everything in Vegas is merely a gaudy copy of some more ancient or original work (Caesar's Palace copying Greek architecture, the New York New York Casino obviously copying NYC, the Elvis impersonator). These and a number of other scenes, to me, create a sense of superficiality that Rick finds himself trapped within, causing or at least reflecting his spiritual emptiness and existential yearning. I think the film's textures and style are very sensory, rich, tactile, which gives it a strong feeling of presence and realism, but the content itself is a rather different story. That's all my interpretation at least, I can certainly see how one could disagree with that though.
The second aspect, the breaks with realism, seem to run more directly counter to what you're saying... the scenes which break directly with reality (specifically his dad washing his hands in blood, the Natalie Portman child/horse room, the Tarot Card floating in the water). These scenes are more in the surreal tradition, with no clues as to whether they're dreams, visions, or anything else to differentiate them from the rest of the film's "realistic" tone. The Tree of Life was the same way, i.e. Jessica Chastain floating in mid-air. I personally love these scenes and the sort of enhanced reality or exaggerated memory that they portray, but that would be my most damning evidence for the film straddling the line between fiction and reality.
You're free to disagree of course, and I certainly acknowledge that my interpretation is one among many and not authoratative, but I'd be interested in hearing more of your thoughts of the film, you and I are probably the people here who liked it the most as we both saw it twice.
Also, I originally got my idea about the desert in the beginning vs. the end from your post in this thread! Although I took it in a slightly different direction
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No.7142
>>7127
this movie is real not in the sense of "realism" like some boring socialist movie, but real as in, fucking real, man. it's completely "true"
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No.7147
>>7142
Ok, ok. By that definition, the movie is definitely real as shit, agreed.
In that way, it reminds me of Anomalisa, or The End of the Tour which I just saw recently... Where it's like, here is someone who by all traditional standards is successful and has hit all the marks of achieving the American dream (money, fame, power, women), but even at the top, they're fucking miserable. I can see how people would fault it for that, saying "boo hoo! a handsome rich white man is sad even though he has a great cushy life" or whatever, but to me it totally resonated and kind of makes me terrified for my future, or at least reconsidering my values. One takeaway from all three of those movies, is don't be solipsistic, measure your happiness against external/material successes, and strive for human connections beyond the superficial.
I would argue that Anomalisa and Knight of Cups are actually thematically really similar, with Anomalisa being more pessimistic and hopeless and thus hitting harder emotionally, but Knight of Cups being more beautiful and diverse, and more enjoyable to watch (without sacrificing depth)
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No.7148
>>7147
*DON'T measure your happiness against external/material successes, that is
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No.7288
>>7142
Like, the old man covered in blood actually happened irl?
I dont know man
>>7127
I dont think it has to do with memory, but i can see why somebody would say that.
I think those "breaks" of reality are more his way to again separate one thing from the background. Is a toll for him to "isolate" what he wants to actually show.
Its like Basquiat with his paintings, he would scratch out words on the canvas not as a way to censure them or cover them up, but instead as too enhance the viewers attention to it.
>>7147
> "boo hoo! a handsome rich white man is sad even though he has a great cushy life"
this makes me boil.
The whole point was to show he was not a different kind of human because he was loaded. And just as he was a drift, there were way more with him that enjoyed that lifestyle, like the kinda surreal mansion scene with Antonio Banderas. Everybody was having a "blast" but him.
This is one of the most antimetiralistic films ive ever seen.
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No.7532
Anyone know where I can download KoC? I tried buying it for streaming but my internet wasn't good enough, and none of the trackers I'm on have it, or at least not in good quality. I feel like there has to be a 720p rip of the blu-ray somewhere, if someone could hook it up I'd be forever grateful and can give you a KG invite
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No.7534
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No.7535
>>7532
what's wrong with public trackers?
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No.7557
Hands down best film Terrence Malick has done. There's so fucking much to it. It's absolutely insane he made a film like this.
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No.7558
>>7288
lol i meant it's emotionally and spiritually real. though a lot of the scenes in here do feel so real in every other way
>>7557
most of malick's films are like that... the man's an emissary from above, i swear
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No.8854
YouTube embed. Click thumbnail to play.
Do you think Terrence Malick might be undermined by the unparalleled freedom he has now? It's interesting to see what he does when actors and studios will do almost anything he wants. But I wonder if his recent projects would be a little better if they'd come from a place of more creative friction?
Vid unrelated...I think
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No.8906
>>8854
Is he god?
How does he conceive of these shots? This endless parade of perfectly framed shots?
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No.8973
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No.9009
YouTube embed. Click thumbnail to play.
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No.9043
>>9009
It looks very similar to Knight of Cups in style and content
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No.9074
>>9009
It might just be the trailer but it seems like Malick is going for a more popular appeal with this one
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No.9082
>>9074
it does seem to be aimed at millennials
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No.9087
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No.9190
YouTube embed. Click thumbnail to play.
Terrence Malick Interview @ SXSW / Song To Song - Panel (Last 31mins)
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No.9197
>>9190
Wow, what the fuck?
I thought he didn't do interviews.
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No.9199
>>9197
I wonder why he changed his mind. Going to SXSW and putting the video on Facebook is definitely a move to appeal to the youth
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No.9308
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No.9310
>>9308
I'd watch it if I could. It's not playing the closest IMAX to me.
I think it'd be interesting to see in a planetarium.Arizona
AMC Westgate 20 & IMAX – Glendale
California
AMC Van Ness 14 & IMAX – San Francisco
AMC Mission Valley 20 & IMAX – San Diego
AMC Century City 15 & IMAX – Los Angeles
Edwards Irvine Spectrum 21 & IMAX – Irvine
Colorado
UA Colorado Center Stadium 9 & IMAX – Denver
Florida
Cobb Dolphin 19 & IMAX – Miami
Regal Pointe Orlando Stadium 20 & IMAX – Orlando
Georgia
AMC North Point Mall 14 & IMAX – Alpharetta
Illinois
Regal City North Stadium 14 & IMAX – Chicago
Massachusetts
AMC Loews Boston Common 19 & IMAX – Boston
Michigan
Ann Arbor 20 & IMAX – Ypsilanti
Celebration! Cinema Grand Rapids North & IMAX – Grand Rapids
Celebration! Cinema Crossroads & IMAX – Portage
Celebration! Cinema & IMAX – Lansing
New York
AMC Loews 34th Street 14 & IMAX – New York
UA Sheepshead Bay Stadium 14 & IMAX – Brooklyn
North Carolina
Regal Stonecrest At Pipers Glen Stadium 22 & IMAX – Charlotte
Oregon
Regal Lloyd Center 10 Cinema & IMAX – Portland
Pennsylvania
UA King of Prussia Stadium 16 & IMAX – King of Prussia
Tennessee
Regal Opry Mills Stadium 20 & IMAX – Nashville
Texas
Cinemark 17 & IMAX – Dallas
Edwards Houston Marq*e Stadium 23 & IMAX – Houston
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No.9311
>>9310
I think it was only in theaters last december.
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No.9312
>RT
>top critics
>audiences
>people
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No.9315
>>9311
Right I got confused
>>9312
I wonder how much Malick is affected by bad reviews
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No.9328
>>9315
>I wonder how much Malick is affected by bad reviews
I think he is beyond such mortal concerns.
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No.10052
Song to Song is out on torrent sites.
Also, Voyage of Time is getting a french Blu Ray release soon.
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No.10053
>Song To Song.
Definitely good, but didn't blow me away yet. Then again, no Malick has instantly done it for me and I love most of his films. It felt to me like a contrast or a sequel to Knight of Cups on a first watch. I think I even heard Solveig's Song used in it? The editing, cutting should definitely make the film feel disjointed, but the different just scenes and narratives are just enough connected, to make it flow just like KOC. Hilarious how he got such famous and expensive actors to do silly stuff, cue Fassbender playing a monkey in a beach dry humping Mara. A review on MUBI put this well "A new Malick film is no longer a monumental event but a miniature piece of a much larger whol" - and it describes perfectly how I feel about his films from Tree of Life onwards. Collage of his life and philosophy.
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No.10054
>>10053
It feels like the B-side of Knight of Cups to me.
Knight of Cups had a better color palette IMO.
I liked Song to Song though.
Still can't wait for pic related. Comes out in 3 months.
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No.10055
>>10053
>>10054
To add, I totally agree about the pieces of a whole comment.
I recently watched his first film, Badlands, and it doesn't feel nearly as confident as his new works.
It's still special, but he's just starting to become the (dare I say) singular genius that he is today.
Badlands has too much of a narrative and not enough pretty pictures, and I mean that sincerely.
Apparently he has "repented" and gone back to working with a real script for his next movie, some kind of war film about a conscientious objector (I think).
It will be interesting to see Malick make a slightly more conventional movie again.
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No.10056
Am I utterly insane if I think George Lucas elevated Star Wars to something close to Malick-ian with this film?
Also, Ron Fricke (Baraka, Samsara, etc took pictures of clouds for most of the scenes with clouds in this film.
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No.10057
>>10055
>his first film, Badlands
He did make one short before Badlands called Lanton Mills. It exists but almost no one has seen it. Malick gave it to the AFI library in Los Angeles and specified that only students are researchers could have access.
https://en.wikipedia.org/wiki/Lanton_Mills
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No.10157
YouTube embed. Click thumbnail to play.
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No.10158
>>10157
Looks liek Samsara/Baraka
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