(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 film this side of Godard (::ducks::) He's an easy beginner's target for a young movie dude. For years it was my greatest pleasure to roll my eyes at even the mention of him. Of course, in my lone collegiate film studies course, the waify UofC adjunct prof showed it to us, complete with xeroxed copies of the philosophical essays he studied.
I don't begrudge anyone a love of Malick, but even after having finally conceded that the dude is probably not worthy of my disdain, we still have a complicated relationship.
In my more doubtful moments, I ponder Malick, appropriately enough, as I would a religion. I wonder if perhaps the puffed-up pomposity I seem to detect might in fact be deadly serious. If Malick really thinks in these hushed whispers and snatches of scenes. His films play like filmed memories, depicting the emotions between the words, only the ecstasy, the feeling, the "wonder."
Affleck gets the part he was born to play: marble-mouthed mongoloid who "falls in love" with an impossibly gorgeous French woman but won't marry her for reasons unknown.
I continue not to know what in God's name to make of you, Terry, but I'll be there for the next one.
BONUS CONTENT HERE'S A LABUZA HAIKU FOR Y'ALL
the love that loves us"
Enjoyed this basically, against my better judgement that it was, of course, more standard issue.
Hard to see much of an 'auteur' stamp on any of these Marvel movies, which all feel so totally prefab and monotone, Whedon's included. Some directors just hit the same three chords with a bit more finesse than others.
The business with Kingsley was definitely fun.
Gregory Hess rewatched
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.