Dog smuggles a nuanced inquiry of a social issue under the guise of popular entertainment.
The film is a vivid depiction of how a confrontation with the unknown can so easily shatter the fragile bonds that hold us together.
Scott Cooper’s film moves at a funereal pace, implicitly celebrating its sluggishness as a mark of integrity.
The inclusion of each cut of The New World marks this as the definitive home-video edition of Malick’s greatest film.
One major reason that Malick’s films are so divisive is that they’re so nakedly emotional, that he’s so blatantly aiming for the sublime.
In Marc Forby’s hands, Kaiulani’s story amounts to almost nothing, given how one-dimensionally she’s characterized.
Pure bliss, Malick’s incantatory New World suspends us in time-regardless of how long it runs.
What follows is a numbered, point-by-point subjective breakdown of The New World’s two versions.
Other people direct movies. Terrence Malick builds cathedrals.
The sociological and emotional heft of The New World is encased in a swirl of hallucinatory images.