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Filmmaker Terrence Malick dives into another esoteric production with this Christian Bale/Cate Blanchett-starring vehicle to be shot back-to-back with another unconnected picture, Lawless, featuring the same two actors.
The sheer weight of evocative, ethereal images is not matched by complexity, depth or character development.
It's a giant montage; a rhapsody and an elegy, cinema as prayer.
With Knight of Cups, Terrence Malick achieves the sense of stylistic ossification that many accused his last feature, To the Wonder, of embodying.
There's something at once vividly familiar and strikingly different about "Knight of Cups," a feverish plunge into the toxic cloud of decadence swirling around a Los Angeles screenwriter gone to seed.
The result is ludicrous self-parody - somewhere between a Calvin Klein aftershave advertisement and a coffee-table book about the modernist mansions of the rich and famous.
Like Tree of Life, it's best to let the film wash over you and enjoy Lubezki's gorgeous images such as mist rolling over a hillside and various inventive underwater perspectives.
While you can admire the filmmaker for his unconventional means of expressing himself, without any sense of linearity, or character development, it becomes impossible to invest in this picture.
With vacant eyes and mouth agape, man continues his seemingly irrevocable fall from innocence, in Terrence Malick's eternally juvenile seventh feature Knight of Cups.
There's a freshness to watching Malick's dreamlike storytelling take root in a fully modern setting for the first time.
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