The haughtily unenlightened can joke and snipe and snore all the want. As evinced by Song to Song, Malick is operating in top form. If only we'd be bothered to do the work of making sense of it.
Terrence Malick's latest film isn't so much a movie as it is a freeform collection of whispers and beseeching looks.
Malick ... displays a conspicuously painterly boldness, a sort of cinematic Impressionism that locates an indelible force of light and detail in the stuff of daily life.
Even at his most indulgent, Malick brings something to the movies that no one else ever has, a way of looking at the world that is easily imitated but has never been equaled.
Song to Song seems destined to be remembered only by Malick's most die-hard fans, who can pore over its semiotic details for years to come.
Legendary filmmaker Terrence Malick hits all the wrong notes with this rambling, incoherent love-triangle story set against the Austin, Texas music scene.
Matt Zoller Seitz
It's a brainy concept album made up of B-sides and filler. The musicianship is superb but the songs needed work.
The passion! The anguish! "Can't you see I hurt?" Malick cries out from the darkness. It's hard not to reply, "Can't you see you suck?"
"Song to Song" continually flits - like the butterfly seen in one fleeting shot - from theme to theme, from love (always love) to fidelity, betrayal, identity, art, freedom, captivity, forgiveness and mercy.