If you're lucky enough to live in one of the few places where Terrence Malick's Voyage of Time: The IMAX Experience is playing, do yourself a favor and go see it. Take your kids, your church small group, your fellow lovers of cinema and nature and awe-inspiring beauty. The 45-minute film (a 90-minute, non-IMAX version is set to release in 2017) is a perfect example of the sort of liturgical cinema Malick has mastered
Among the many questions prompted by a close viewing of this finale sequence—and indeed, the whole film—is the identity and meaning of the mystery woman seen with Jessica Chastain’s older and younger self in the “Amen” sequence. She shows up in part (usually just her hands) and in full on a number of occasions throughout the film--especially at the beginning of Jack’s life and in the film’s final fifteen minutes.
As I've reflected on The Tree of Life (I think I've seen it about 10 times now), I'm no less awestruck by its beauty now than I was in the beginning. It's a film overflowing with the sublime, the transcendent, the holy. I've heard others call it a worshipful experience and I certainly concur. The following are the scenes that get me the most, each time I watch Life. They are, in my opinion, the 10 most transcendent sequences of the film.
Moneyball is one of the smartest, most effective sports movies I've ever seen. It captures the "love of the game" spiritual gravitas of The Natural and Field of Dreams while also embodying the melancholy of nostalgia for the "glory days" (see Friday Night Lights). But Moneyball's most obvious antecedent and kindred spirit isn't a sports movie at all. It's The Social Network.
There are films to be excited about, and there are films to be EXCITED about. Then there are films that one’s entire life waits years—even decades—for. Or maybe that’s just me. In any case… such a film is coming soon, and it’s directed by Terrence Malick (the most mysterious and brilliant living filmmaker). It’s called Tree of Life.
There are very few directors in the world who can imbue a dollop of cream and a plate of apple strudel with the sort of pulsating, vivacious energy that Quentin Tarantino can. And there are very few directors who can make twenty minutes of table talk as utterly engrossing and tension building as Tarantino can.
There is a lot that could be said about Public Enemies—a lot, for example, about the HD digital photography which is perhaps the most polarizing aspect of the film for many audiences. For a really insightful take on the visual style of the film, I recommend Manohla Dargis’ review for The New York Times (a review I happen to totally agree with).