Knight of Cups

Knight of Cups was a very different subject than I was expecting from director Terrence Malick. Few directors delve into the raw emotional content that carries us through our daily narrative. Most of his films approach the viewer from the very abstract to the rather mundane. I was quite impressed with most of his previous work, but I failed to grasp what was going on here.

Christian Bale confirmed in an interview with The Guardian, a few things that people should know before watching this film. Mostly that the director did very little in terms of actual direction and scripting. Every scene in this film was either unscripted or improvised. Actors were playing off each other and had very little to go off of scene by scene.

Bale plays a successful Hollywood Screenwriter, who is haunted by his traumatic past and fails at most of his relationships. Not out of poor decisions but because he seems lost more than anything. The events that lay before him are strange and somewhat unconnected, but the recurring theme of his affairs, love interests, and strange breathy narration (which is fairly typical for Malick's films), make this film somewhat of a repeating loop of the same events over and over again. You're left a bit confused at the end wondering, what was this film about. There are some beautiful shots in it, yet still a difficult movie to follow.

A rather contemporary, if unguided effort on the director's part, and falls somewhat flat next to his more spectacular body of work.

5/10

Rick (Christian Bale) is a successful movie screenwriter in Hollywood. He goes out with free-spirited Della (Imogen Poots). He goes to a tarot card reading. Barry (Wes Bentley) is his brother and Joseph (Brian Dennehy) is his father. Nancy (Cate Blanchett) is his ex-wife. Elizabeth (Natalie Portman) is another woman from his past. Tonio (Antonio Banderas) is a womanizer. Helen (Freida Pinto) is a model. Karen (Teresa Palmer) is a stripper. Fr. Zeitlinger (Armin Mueller-Stahl) is a priest. Rick moves through L.A., Vegas, and other places as he searches for meaning with various loves and hookers.

The acting is improvisational. The movie moves through L.A. and this world in a dreamlike fashion. Rick doesn't say much. The camera moves through his world like a spirit observing his life. In a way, it's a very fitting vision of LaLaLand. It reminds me of an IMAX movie I saw back in the 80's with disconnected action vignettes in Canada. It was disembodying but fascinating... for about thirty minutes. Luckily, that's how long that IMAX movie was. In this case, this movie lasts for two hours. One does check out sooner or later. I try to stay with it but it does get away from me a couple of times.

more clueless, going-nowhere pretentious. Trying so hard to find some unnecessary answers with a film to play out meaninglessly by a guy who miraculously relocated or misplaced himself in lot of big-deal events or scenes, either looking up to the sky or jumped off from a pier into the sea for no obvious purpose but spur-of-the-moment childish behaviors, or entangled himself with some females in close contact, flesh against flesh, intimate but without profound romantic feelings at all, or woken by a sudden earthquake, moronically and aimlessly roamed around inside his room with bare feet littered with shattered glass, then when the aftershock tremors hit again, escaped downstairs, still without shoes, looked up to the sky, saw chopper passing, sirens....on and on, situated himself in desert, movie shooting locations, swimming pool, bed for no purpose. The old voice narration....then with some white hair guys mingled among younger ones....on and on, without any meaningful purpose. lot of wide angled nice scenes, sunsets.

The whole movie failed to provide the viewers with any obvious intention but hollow camera works. Trying so hard to look deep but ended up with a big NADA! A pathetic copycat tried so hard to look like the heir of Fellini and his 8 1/2 film but failed miserably except in colors and wide-angle lens. A total clueless waste of resources and viewers' time and eyesight.

Knight of Cups (2015)

** (out of 4)

Terrance Malick's latest comes as a major disappointment as it centers on a screenwriter (Christian Bale) trying to cope with his life, his brothers suicide and trying to make sense of the various women in his life.

KNIGHT OF CUPS got released to mixed reviews and it ended up crashing at the box office, which is really understandable. I'm not going to say I enjoyed this movie because I really didn't but at the same time I can understand why some might see this and call it one of the best films of the year. As with THE TREE OF LIFE, this film is certainly going to leave viewers with mixed reactions but I found that film to be a masterpiece whereas this one is a blurred mess.

I will start off talking about the one great thing and that's the cinematography. This is certainly one of the greatest looking pictures of the year and Emmanuel Lubezki deserves a lot of credit for what he was able to do. The cinematography is so great that it actually upsets you that there wasn't more to the film. There's no question that the look of the movie is something brilliant and it comes across as a beautiful visual trip. It certainly adds an atmosphere to the movie and there's no question that it's the best thing about the picture.

With that said, everything else is pretty much a mess. The determining factor on your reaction to the movie will be your feelings towards the lead character. He's pretty much walking around in a daze of depression, thought or perhaps both. I never cared about the character or his problems so I got rather bored very early on. The majority of the movie has him banging hot ladies and then walking around feeling sad. Now I'm sure fans of the film will read a lot more into it and say I missed the point and perhaps I did. Or perhaps they're making it seem like there are things in the film that aren't really there.

KNIGHT OF CUPS isn't a film that's going to appeal to very many but even Malick fans are going to be divided with it. You've got a terrific cast include Bale, Natalie Portman, Cate Blanchett, Brian Dennehy, Frieda Pinto and Antonio Banderas but none of them are really given a chance to act as they're all sucked up by the visual grace that the director was going for.

Some random thoughts while watching this pretentious stinker: Film students correctly screen and study the works of Fellini and Antonioni and so did Malick, but ripping them off is inadvisable.

I saw "Badlands" at its NYFF world preem in 1973 and was a big fan of TM through his next one "Days of Heaven", but....he ended up a hack as witness here.

Compare careers to Conrad Rooks -as fiercely independent minded if not more so with 2 interesting features to his credit "Chappaqua", plus Herman Hesse's "Siddhartha". No idiot Malick Kool Aid drinking producers to back further follies for him, however.

Key ripoff: the great Scandi filmmaker Peter Watkins who invented the "You are There" first-person camera filmmaking technique for fictional, historical subject matter - wildly overdone by Malick with wide angle distortion added.

Ultimate indie pioneer John Cassavetes used improvisation for rehearsals and prep to invent a unique filming style; Malick uses improvisation as a lazy self-indulgence.

Film Festival-itis: making movies to be "consumed" on the antiquated, dating back to the '30s and '40s of Venice and Cannnes, international film festival as exhibition venue circuit, pandering to the gatekeepers of same: selection committees and junket-style critics, as witness the empty "eroticism" (not) thrown in as chief fetish of a "festival junkie".

Brain-dead stars: many a big name attracted to this no-script, no- nothing project in order to boast "I worked with Terrence Malick" and then spout gibberish in the inevitable BTS bonus interviews on DVD.

Film School Error 101: The Shot: when I first became a film buff over 5 decades ago I was fascinated with the "striking shot", a Bertolucci or for that matter Antonioni composition or moving camera that stuck out - the opposite of crafting a real, functioning feature film where both camera-work and editing (and SPFX especially) are ideally invisible once a filmmaker has matured. It's not the shot (battle) that counts, it's the film (war).

Antonioni, not Clapton or Kilroy, is God syndrome: not just the ending but the endless expanses of emptiness, as mentioned by loyal production designer Jack Fisk, not symbolic but merely undigested Antonioni imitation, see: "La Notte".

Elephantiasis: in the '60s I watched hundreds if not thousands of experimental film short subjects, screened at Midnight every Saturday and Sunday night at the local art theaters back in Cleveland, drawn from Ann Arbor and other regional festivals. Very educational and formative for a young film buff, with Stan Brakhage, George Kuchar and Ed Emshwiller raised to a pedestal for me. I'm sure Malick did too, but his big-budget feature-length imitations of same are embarrassing and a slap in the face of the many progenitors of the "underground movement" ranging from Maya Deren to even the '60s future pornographers -the Findlays. But he gets away with it, as current viewers and critics have no grounding in film history.

The Fellini scenes: TM couldn't resist "throwing a party" just like Fellini, but the maestro's parties have life and invention, while here we see clichéd Hollywood types milling about, over-wrangled by some anonymous assistant director, completely artificial in their groupings and movements.

Lastly, Bale as empty as the project. He gives new meaning to the derisive term "walk-through". And this is after, like the other hapless cast members, being given free rein by an absentee "director".