Mike Thorn’s review published on Letterboxd:
Like Antonioni ascending into some kind of digital singularity by means of gnostic expression/Christian mysticism. Malick's most demanding, most architectural, most messy, and maybe his most free. A Foucaultian framework is probably counter-intuitive (Malick seems wholly committed to classical Christian philosophy), but I couldn't help applying certain elements of Foucault's thought here: mainly the notion of one's life granted artistic form as resistance to convention/power. The complicated crux is, of course, power itself; if we can designate Rick as the locus, then Malick is speaking completely through the regime (white, male, able-bodied, rich, good-looking, cis, etc.). But since when is it easy to find a narrative center of gravity in Malick's cinema? Also, my qualms with the V.O. are already dwindling. I can't seem to track the link down, but Malick's single print interview from 1974 sheds some light on his deliberate use of clichéd expression (there's something said about individuals who know no other way to convey intimacy than through the most public of means). Some might accuse Malick of this very quality, but I'm still busy being blown away by what he has to offer.