Terrence Malick

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Marion Cotillard Lined-Up For Lady MacBeth Role In Upcoming Film Adaption

Marion Cotillard Michael Fassbender Kenneth Branagh Natalie Portman Terrence Malick James McAvoy

Marion Cotillard has been chosen to bring some Gallic glamour to one of Scotland's most malevolent (fictional) characters in the latest big screen adaption of William Shakespeare's MacBeth. The Oscar-winning actress is set to star along German/Irish actor Michael Fassbender, who will be taking on the titular role, under the direction of Snowtown's Justin Kurzel, The Hollywood Reporter first revealed.

Marion Cotillard
Marion Cotillard will replace fellow Oscar-winner Natalie Portman in the latest adaption of 'The Scottish Play'

Distributed through StudioCanal and Film4, the latest rendition of the classic Shakespearean tragedy is being produced by The King's Speech backers Iain Canning and Emile Sherman, who run the production house See Saw. Which happens to be the same company that worked on the Fassbender-starring Shame. No further details of the film have been released just yet, so it is still unknown who Cotillard and Fassbender will be starring alongside when filming begins in January 2014.

Continue reading: Marion Cotillard Lined-Up For Lady MacBeth Role In Upcoming Film Adaption

Can Oscar Darling Ben Affleck Save Malick's To The Wonder? (Trailer)

Terrence Malick Ben Affleck Rachel McAdams Javier Bardem

Ahead of its full U.S. release, a full theatrical trailer has been released for Terrence Malick's latest movie 'To The Wonder', about a couple from Oklahoma who run into problems after moving to Mont Saint-Michel - an rocky tidal island near Normandy, France.

Marina, played by Olga Kurylenko meets a priest and fellow exile (Javier Bardem) who is struggling with his vocation, while Neil, played by Ben Affleck, renews ties with childhood friend Jane (Rachel McAdams). Let us not beat around the bush here: critics hated Terrence Malick's latest effort and the reclusive filmmaker is probably beginning to divide critics more than even he would like. Tim Robey of the Daily Telegraph said, "The movie wants to explore looming crises of faith, but for Malick fans it's in serious danger of entailing one." Time Out said, "There's a phoniness to the film's people and places that keeps us at a fatal distance from the big ideas with which 'To the Wonder' seeks to engage us." There's a huge problem here. Malick presumably chose Mont Saint-Michel as its considered one of the most mythical and intriguing places on the planet. If it appears phony on-screen then 'To The Wonder' is done for.

Continue reading: Can Oscar Darling Ben Affleck Save Malick's To The Wonder? (Trailer)

To The Wonder Trailer

Neil is the subject of a cautionary tale about the dangers of falling in love. He thinks he has met the woman of his dreams when the European Marina flies over to the States to be with him. However, as beautiful and as perfect as their love seems, Neil can't stop seeing Jane; an old flame from the town he grew up in; as a spark is ignited between them once more. He becomes doubtful of his love life, and struggles to make sense of it while Father Quintana is equally struggling with his faith, unable to see past the pain and suffering in the world. Neil must understand that love is not perfect, nor is it easy in execution; you are at constant risk of failure, of betrayal and ultimately heartbreak. But love in its many forms is nonetheless a beauty, even if it can be unpredictable. 

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To the Wonder Review


Frankly, a bad Terrence Malick film is better than 90 percent of movies released in cinemas: but if you thought The Tree of Life was indulgent and overly kaleidoscopic, you should avoid this like the plague. Because this film is even looser and more internalised, taking an impressionistic approach to plot and characters that gives us very few specifics. It also leaves the cast to play mere hints of people who are having crises of faith and love.

After a lushly romantic trip to Paris and Mont Saint-Michel, Neil (Affleck) brings his French girlfriend Marina (Kurylenko) and her 10-year-old daughter Tatiana (Chiline) home to Oklahoma to live. The geography and culture are a shock to both of them, but Marina tells Neil, "If you love me, I'm OK here." So they begin to bond as a family, and Marina turns to local Catholic priest Quintana (Bardem) for support. But he's having a crisis of faith, and she's wondering if she's made a terrible mistake. So when her visa expires, she takes Tatiana and returns to France. In confusion, Neil then turns to his old flame Jane (McAdams). But as their rekindled romance begins to get serious, she realises that he's still in love with Marina.

Malick tells this story with snippets of ideas and feelings. Emmanuel Lubezki's sumptuous cinematography finds raw beauty everywhere, including in Malick's trademark sun-dappled leaves, waving wheat fields and rippling water. But there's also raw beauty in the actors' faces, and we understand their thoughts through breathy voiceovers that offer philosophical musings and biblical texts. As a result, only Marina emerges as a properly defined character with passion and yearnings; everyone else is sketchy and vague. Even Affleck and Bardem, who have strong on-screen presence, never quite register here.

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Shadowy Terrence Malick Shoots at Austin's Fun Fun Fun Festival (Photos)

Terrence Malick Val Kilmer Michael Fassbender Rooney Mara

Terence Malick At Fun Fun Fun Festival

A rare photograph of Terrence Malick, at the Fun Fun Fun Festival

Get a good look at the above photo, readers, because it's not too often you see pictures of the multiple-Oscar nominated film director Terrence Malick doing his day job. Malick was with a few of the cast who are appearing in his as-yet untitled music, including Michael Fassbender, Savanna Welch, Rooney Mara and a spotlight-stealing Val Kilmer -it's not often you can say that - at the Fun Fun Fun Festival in Austin, Texas where he is shooting. Though the director tried to hide his face with a large hat and sunglasses combo, there was no such shyness from Kilmer who, according to the Indiewire, joined band the Black Lips on stage before wielding a chainshaw, cutting his 'hair' (it looked like a wig) and then being 'forcibly removed'. Nice one Val.

Continue reading: Shadowy Terrence Malick Shoots at Austin's Fun Fun Fun Festival (Photos)

Filming on location in Venice Beach for the new movie Knight of Cups, directed by Terrence Malick (wearing the straw hat)

Terrence Malick Wednesday 13th June 2012 Filming on location in Venice Beach for the new movie Knight of Cups, directed by Terrence Malick (wearing the straw hat)

Terrence Malick
Terrence Malick
Terrence Malick
Terrence Malick
Terrence Malick

The Tree of Life Review

Malick takes a bold, intensely personal approach to this big story about life, the universe and everything. With echoes of Kubrick and Lynch, but in true Malick style, it's the kind of film we need to let wash over us rather than try to make sense of.

Jack O'Brien (McCracken, then Penn) grows up in the 1950s American Midwest with his harsh-but-caring dad (Pitt), loving mother (Chastain) and little brothers RL and Steve (Eppler and Sheridan). Over the years, events shift and shape the family, including illness, injury and death. But what does it all mean? And can the truths of humanity be traced back to the dawn of evolution or the age of the dinosaurs?

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The Tree Of Life Trailer

Watch the trailer for The Tree of Life

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Amazing Grace Review

For a film with all the stylistic panache of a BBC period yawner and all the moral ambiguity of an after-school special, Amazing Grace is a surprisingly entertaining political drama. It tells the story of famed British abolitionist William Wilberforce's struggle to end the slave trade in England. Its high-minded earnestness and longsuffering main character will remind movie buffs of another cinematic treatment of British history, A Man for All Seasons, but it's another similarity shared by these two films that sets Amazing Grace apart from all but a few mainstream movies being made today. Amazing Grace, like A Man for All Seasons, is a serious film about religious conviction and the power of individual believers to effect change in a world in need of redemption.

Make no mistake: Amazing Grace is not a complex movie. The good guys are good and the bad guys aren't so much bad as they are yet to become good. Such a simple and optimistic moral vision may seem antiquated to some, but Amazing Grace doesn't apologize for its old-fashioned piety. As the action starts, Wilberforce (Ioan Gruffudd) undergoes a religious conversion. His long-abandoned childhood faith has once again stirred his heart and moved him to commit to doing whatever he can to improve the world. Already a member of Parliament, he asks several of his friends -- including the clergyman John Newton (Albert Finney), who wrote the hymn "Amazing Grace" -- if he should continue his political career or move on to a more spiritual pursuit. At all of his friends' urging, Wilberforce chooses politics and not long after takes an unpopular stand on the issue that will dominate his political career thereafter: the slave trade.

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Badlands Review

Terrence Malick introduced his odd yet highly compelling filmmaking style in this 1973 feature, inspired by the long murder spree of Charles Starkweather (here Kit Carruthers, played by Martin Sheen). Carruthers is a garbage man who spies Holly (Sissy Spacek, who narrates disaffectedly) twirling her baton, soon after he's shot her family dead and they're on the run, living in the woods and the badlands of the northern midwest as they try to get to Canada to make a hastily planned escape. Body counts rise, but Malick isn't overly concerned with the violence. He takes us inside the heads of this bizarre duo, the quiet sociopath Kit and the even quieter neurotic Holly. One of cinema's most curious character studies and probably still Malick's best film.

The New World Review

Is there a more frustrating living director than Terrence Malick? It's hard to imagine another filmmaker more fantastically talented or more jaw-dropping awful, capable of conjuring scenes of breathtaking cinematic poetry and cringing adolescent pathos within mere seconds of each other. There is nobody in the modern world of cinema even remotely like the ineffable artist who is Malick - but whether that's a good or bad thing is for wiser heads to puzzle out.

Malick ended the silence which followed his fantastic 1970s one-two punch of Badlands and Days of Heaven - airy, wind-swept paeans to wide-open skies and the loneliness that lies like a bruise on the land beneath them - with 1998's star-stuffed adaptation of James Jones' battle epic The Thin Red Line. It would have been the World War II movie to end the century with, but for a little something called Saving Private Ryan, out that same year. Up against Ryan's self-consciously stomach-churning gore and herky-jerky camerawork, not to mention its resolutely action, action, ACTION! pacing, Malick's moony meditation on the thin line (if any) between civilization and savagery couldn't help but come off as impossibly arch. Never mind that Malick's battle scenes were even more vicious and realistic than Spielberg's, given their eschewing of comforting action film tropes in favor of pure hot chaos. A strike (well, several strikes) against Malick was his habit of telling the story via overlapping voiceovers, as each of the characters thinks Big Important Thoughts about life and war and love. By jettisoning Jones' pungent prose, all the characters ended up sounding exactly the same, like Malick just thinking aloud in the sort of white-noise pseudo-philosophical jumble that Godard litters his films with.

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The Thin Red Line Review

War is hell. I think.

Terrence Malick's long-awaited and severely overhyped Line is plenty red, but it isn't thin at all. In fact, it's damn thick and dense, and it meanders about like a lazy river.

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Undertow Review

However you may feel about David Gordon Green's movies, his strong suit is his ability to create powerful moments from the simplest daily activities. His characters feel like whole people, whether you're aware of their entire personal history or not. And the settings in which his films take place play an intricate role in the overall story without getting tedious or feeding into stereotypes.

The same could be said for Undertow, a richly filmed human drama of two boys being raised by single father John (Dermot Mulroney). Chris (Jamie Bell), being the stronger teen, is forced to do much of the labor around their small rural farm while little brother Tim (Devon Alan) eats poorly due to stomach problems. John's brother Deel (Josh Lucas) comes to stay after being released from prison to exact revenge for losing his woman and his inheritance to John, and Chris must forget his illusions of leaving familial obligations to ensure his and Tim's survival.

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The Beautiful Country Review

It's getting harder to appreciate an immigrant saga like The Beautiful Country in which audiences are expected to be swayed by the poor and huddled masses. After all, isn't the United States a country of immigrants? To make such a film memorable, directors should try one of two things: Remind us of the importance of this notion through a distinctive personal narrative, or tell us something we haven't heard before. The Beautiful Country flirts with both possibilities, but not enough to produce something memorable.

In 1990 Vietnam, Binh (newcomer Damien Nguyen) has an even more difficult time because of his genetics. He's the product of a mixed marriage, a hasty but loving union of a Vietnamese mother and G.I. father, neither of whom he has seen in years. After he's forced out of his master/guardian's house, Binh, armed with little more than an old photograph and a bicycle, treks to Saigon where he reunites with his mother. A tragic accident forces another long, winding trek to America to find his father.

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