A new Terrence Malick film premieres at the forthcoming Venice film festival with less advance fanfare than in the days when he averaged one film an aeon. A latterday bout of relative productivity has made the famously hermetic auteur’s films seem less special, but that’s a generous excuse to make for the dispiriting vacuity of Knight of Cups (Studiocanal, 15), the most actively esoteric but least soulful of his signature tone poems. Starring Christian Bale as a disaffected comic screenwriter – perhaps a rare glimmer of self-irony on Malick’s part – wandering LA and Vegas in search of solace/inspiration/sex, the film applies a po-faced, tarot-reading structure to his metaphysical trials and personal entanglements. So far, so Malick; his finest work attains enough aesthetic and spiritual grace to justify its affected romanticism. In this case, the film’s awed, whispery styling and ornate water lily structure succeed only in scribbling surface complications on a protagonist with no distinct inner life. It’s like writing a symphony for someone you’ve only met on Tinder. Melding cosmic and human concerns to more moving effect is Chilean documentarian Patricio Guzmán’s The Pearl Button (New Wave, 12). A summary-resistant, reach-for-the-sky work, it interweaves, with improbable elegance, a… Read full this story
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Knight of Cups; The Pearl Button; Arabian Nights; The Jungle Book; Jane Got a Gun; Miles Ahead; The Get Down – review have 287 words, post on www.theguardian.com at August 21, 2016. This is cached page on wBlogs. If you want remove this page, please contact us.