Major reservations about this. Firstly, I do wish she'd resisted the urge to put THE FINEST POINT ON IT that I've seen in a doc in a long time (that she allows her interviewees to partially do it for her does not absolve her.) And certainly other directors have long ago better articulated the way that the telling of stories, in film or otherwise, gets obfuscated over time and through the eyes of others. It's practically a genre by now.…
(tired of putting off editing this into something readable so here's my slapdash notes, ya get whatcha pay for ya buncha freeloaders)
I confess: coming to terms with the collected work of Terrence Malick is the greatest vexation in my cinematic journey. (::cue Mark Cousins voice:: insert shot of red Christmas tree ornament::)
I've been alternately sneering and swooning at Malick since my first viewing of DAYS OF HEAVEN in high school, for me probably the most hyperbolically over-praised art…
GAFFE SQUAD: At the Canadian Embassy, there is an insert shot of a needle dropping on the *middle* of a record, and then Led Zeppelin's "When the Levee Breaks" plays over the scene. In fact, that song is the last song on the record, so the needle should have been dropped further toward the center of the record. GOTCHA AFFLECK!!!
My absolute uncontested, TKO #1 favorite film of all time. Not sure I've ever really known how to justify that, as if I needed to. A film that can teach life lessons one can only hope to learn otherwise through terrible hardship and sadness. To see in 35mm was less a revelation than a fulfillment of a lifelong passion.