Cavaleiro de Copas

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

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.

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.

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.