To the Wonder
Directed by: Terrence Malick
Written by: Terrence Malick (screenplay)
Starring: Ben Affleck, Olga Kurylenko, Rachel McAdams and Javier Bardem
To the Wonder is the quickest turn-around of the legendary auteur Terrence Malick’s career, coming out a little less than two years after 2011’s The Tree of Life. For a director who famously took 20 years after 1978’s Days of Heaven to resurface, that is quite a 180. This is also significant when examining this latest film because, though it contains moments as transcendent and beautiful as anything he’s ever done, those moments are trapped inside many less significant ones. It doesn’t feel fully formed, and though it’s by no means lazy or even bad, several parts feel out of place and sloppy.
Malick’s camera, aided by the infinitely gifted cinematographer Emmanuel Lubezki, washes over any landscape with lightness and grace, tilting, panning and maneuvering around endlessly twirling and writhing bodies. He speaks a language of pure cinema, enhancing each gesture and glance with a swell of music and a matching camera movement, and then using his trademark narration to an almost entirely expressionistic effect.
Directed by: Joseph Kosinski
Written by: Joseph Kosinski, Karl Gajdusek and Michael Arndt (screenplay), Joseph Kosinski and Arvid Nelson (comic book)
Starring: Tom Cruise, Olga Kurylenko, Andrea Riseborough and Morgan Freeman
Machines are typically a main enemy in science fiction narratives, often stand-ins for the mechanical processes of fascism or bureaucracy . This is true both in front of and behind the camera in Joseph Kosinski’s Oblivion, a dull, overdone futuristic movie that tries amicably to be more than the Tom Cruise vehicle it ultimately is. It is so bogged down by needless special effects excess that its fine polish glosses over any semblance of life.
Set in 2077, Oblivion at first follows Jack (Cruise) and Victoria (Andrea Riseborough), two engineers who repair drones that guard resource mining operations on what’s left of Earth. Of course the drones turn out to be evil, and Jack is forced to choose between helping those he once helped destroy (a pack of human survivors led by Morgan Freeman) or stay the course. It isn’t really much of a choice, and neither the script nor the camera captures any rebellious spirit or sense of urgency. There are a some well done firefights and amusing exchanges between Cruise and Freeman, but Kosinksi sacrifices all major opportunities for political commentary to indulge in them.