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Well, I did respond to it, but by feeling nauseous, I doubt that was what the movie was supposed to do...
the next thing you know everyone is dead, including you, and even as you juggle a jumble of memories, loves, experiences, mistakes and regrets, you're not one step closer to understanding the way the universe works or why.
Yeah, like I said, I was fine this when the movie was depicting memories, of childhood thoughts and images and experiences meshing with each other... But what I didn't get why the same technique was used with the cosmic/spiritual stuff. Like, in the beach scene in the end of the movie Malick keeps cutting within the same "Heaven" (or whatever it's supposed to be) imagery, he doesn't juxtapose it with memories or stuff from other parts of the movie, it's just jump-cuts within the same scene on the beach, and I seriously don't get what was the point of there. From what was actually happening in the scene, it felt like we were supposed to witness the state of grace mentioned earlier in the movie, of sins forgiven (hence the mother being all cuddly with the father again) and losses regained... But the way it was presented felt stressful and chaotic, closer to music video than anything solemn. And if that was intentional, I just don't get what the intention was.
― Tuomas, Tuesday, 13 January 2015 18:07 (nine years ago) link
three years pass...
one year passes...
three months pass...
I had totally forgotten Jack shouting at his father "SHE ONLY LOVES ME!"
Extended version throws in too much that truly is too much/not enough (Ben Chaplin as abusive dad in the neighborhood). Also Chastain's mother (Fiona Shaw) explicitly diagnosing Pitt's resentments, which we can see for ourselves.
Alex Ross's Criterion supplement on the musical selections is excellent.
― brooklyn suicide cult (Dr Morbius), Sunday, 16 February 2020 15:52 (four years ago) link