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Malick Films Ranked

March 26, 2016

In reverse order….

8th Song to Song

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The first Malick film where I felt his aesthetic and thematic concerns were not justified. It plays into the hands of all his critics by being willowy, emotionally insubstantial and an avowal of quite uninteresting, bourgeois relationship concerns. It is visually stunning though.

(Full review: Song to Song )

7th The Thin Red Line

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Being near to the bottom of this list is not to damn The Thin Red Line – it’s still a masterful work and features moments of absolute genius and beauty. The Witt characterisation/subplot is a highly moving moral pivot for the story, and Malick’s relentless bent to transcend and deglorify war is noble. The only marginal missteps (and I’m only nitpicking really) are the slightly ragged and didactic use of voiceover, the distracting sideshow of huge, huge names being cast in minor cameos, and the heavy quota of action – each sequence pretty much making the same point about war’s senseless, unnatural inhumanity.

(Full review: https://pnabarro.wordpress.com/2016/03/03/the-thin-red-line/)

6th To the Wonder

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By this point in his career, it was evident that Malick had almost entirely dispensed with any comprehensible notion of narrative. It does just lead to a sense of the law of diminishing returns in some aspects of his work (how many sequences of a woman dancing around in sunlight is needed to imprint the notion of the freedom of the spirit, and how naff was the little Ben Affleck-Rachel McAdams tryst subplot?) That apart though, this as visually stunning a work as Malick has produced (hats off to Emmanuel Lubezki for that), and it’s actually a very rich, complex story about an irrevocable sense of geographical dislocation and the search for divinity.

(Full review: https://pnabarro.wordpress.com/2013/10/14/to-the-wonder/)

5th Badlands

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Malick’s first film, and it’s by far his tightest exercise in storytelling…and yet, it still more than hints at the familiar themes and practices that were to proliferate in his future work. There’s the masterly use of voiceover, the pastoral setting, a certain reflective, ironic distance from the action, and a staggering central female performance – Brooke Adams, Q’orianka Kilcher, Jessica Chastain and Olga Kurylenko in later Malick works would all go on to immortalise a certain form of feminine gracefulness as Sissy Spacek does here.

(Full review:  https://pnabarro.wordpress.com/2015/11/22/badlands/)

4th Knight of Cups

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Malick’s most intense, insular and immersive film yet. It’s also one of the great cinematic documents of Los Angeles; one of the finest expositions of cinematography; and if you wade beneath the seeming impenetrability of the fragmented narrative – it’s a moving depiction of how a middle-aged man can find the means to move on having “outlived himself”.

3rd The New World

In many ways, more tone poem or opera than feature film: the Pocahontas legend gets the most lyrical and rapturous treatment imaginable, scored almost entirely to Wagner, Mozart (and James Horner!)

(Full review: https://pnabarro.wordpress.com/2016/03/20/the-new-world/)

2nd The Tree of Life

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An absolutely staggering evocation of childhood told almost entirely through the sensual conduit of memory. On top of that, Malick also conjures multiple dimensions to his narrative: charting the whole cosmic evolution of love and grace, affecting frequent and dazzling shifts in perspective and chronology, hinting at a form of ‘heaven’. And yet, despite this feel for the epic and the profound, Malick still retains an intimate, heartfelt edge.

(Full review: https://pnabarro.wordpress.com/2016/03/24/the-tree-of-life/)

1st Days of Heaven

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Perhaps the picture where Malick came closest to perfecting all his hallmark stylistic and philosophical proclivities. And although it certainly hints at that now familiar Malick refutation of the “tyranny” of story, it was a work where Malick still had an ingenious respect and handle on the power of narrative: from the perfectly embodied conceit of the detached childlike narration to decontextualise the main action, to a sense that the grandiose backdrop of nature – both in its resplendent beauty and unflinching permanence – will always endure amid the transience of the people politics that temporarily fills its frame.

(March 2016 – updated since then with Knight of Cups and Song to Song).

 

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