Malick seems to be interested in what is outside and underneath and around the framework of our lives. He’s not interested in the stories we tell as much as the moments that cause us to throw our hands up into the air.
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I grew up in Hawaii, so I have no concept of going away on “spring break”, but Harmony Korine has clearly schooled me in what I seemed to not have missed in his raunchy, pulpy, neon-fueled reflection of young America, Spring Breakers.
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I’m going to go ahead and spoil the entire plot of Bart Layton’s documentary The Imposter, but only because the film does in its first opening minutes. Why? Because the plot, as balls-out-crazy as it is, is not even the most compelling aspect of this film.
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The skillfully understated filmmaker Kelly Reichardt joins up again with screenwriter Jon Raymond to give us Meek’s Cutoff.
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Moonrise Kingdom is set in 1965 on an isolated New England island, at the waning end of summer, which as it turns out is the perfect setting for a Wes Anderson story.
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