Knight of Cups

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.

It takes a while of watching the movie before starting to appreciate it. However, the longer you get, the more it starts growing on you. Its modernistic style is certainly not for everyone - but the combination of beautiful pictures and captivating music as well as the subtle messages of the flick, is in my opinion brilliant. As with many modernistic pieces it requires that you as a spectator participate, which is very giving, that is, if you actually do it. Then you will experience the emptiness we as human beings have to wrestle with: the apathetic nature of just following the flow: the slumber we experience the moment we stop being active and stop shaping our existence. The movie is a reminder not to fall in slumber, but to wake up and see the pearl.

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.

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

When we go into a Terrence Malick film, we generally know what we're in for: a spiritual journey into Man's soul through unconventional, yet beautiful cinematic means. Malick's films are mostly unscripted and plot less, instead using nature to assist them iin creating a narrative by use of both visceral and symbolic imagery. And like Werner Herzog, there seems to be an almost divine force on their side.

Then there's Knight of Cups: A cinematic farce masquerading as profundity; an excruciating exercise in self indulgent banality. I couldn't believe what was unfolding before me. It was just empty--Lubezki's cinematography, the voice over, the character's-- just empty. A borderline Malick parody. It was almost as if the film was made by a machine, or perhaps some sort of alien being attempting to recreate human emotion. I literally felt nothing while watching it.

The only justifiable reasoning I can fathom on how Malick directed this film, is if he was trying to give the audience a hands on experience of the superficiality and mundanity of the protagonist's life. If this is the case, then I suppose the film is technically a success. If you can call that a success. I'd say the filming of paint drying would be an equally effective treatment of the subject.