This is a 4K UHD release fit for one of the masterpieces of the cinema.
Imprint’s Blu-ray is further proof that Terence Malick’s sophomore feature is among the most visually dazzling films ever made.
Terrence Malick’s film means to seek out souls caught in the tide of history, but which move against its current.
The Tree of Life is the culmination of Malick’s artistry, and Criterion treats it as such with this totemic release.
Terrence Malick’s Song to Song is about floating along on currents of uncertain desire and excitement.
The films at this year’s festival offered plenty examples of legacies lived up to and not—neglected and obsessed over.
The film captures our world as systematic yet miraculous, evolving toward more elaborate and resilient forms.
Voyage of Time is arguably the fullest expression of the cosmic themes that filmmaker Terrence Malick has explored for the last decade.
The inclusion of each cut of The New World marks this as the definitive home-video edition of Malick’s greatest film.
The film has the uncanny quality of an out-of-body experience, not a torn-from-the-heart confessional.
Terrence Malick’s juxtaposition of the beautiful and grotesque captures life as a Felliniesque carnival, at once sad and life-affirming.
With Knight of Cups, Terrence Malick achieves the sense of stylistic ossification that many accused his last feature, To the Wonder, of embodying.
Rich Hill is poverty porn, and this isn’t simply because the film examines poverty.
It’s not just the prosaic approach the mythically outsized hallmarks of Americana that makes A.J. Edwards’s first directorial effort feel like a Malick movie.
Okay, so audiences still aren’t ready for De Palma’s operatic visual sensibilities, but surely critics must be on board by now, right?
Magnolia does more than well by the visual and auditory splendor of Malick’s strangely ferocious sixth feature.
Badlands is perhaps most different from the rest of Terrence Malick’s oeuvre in its straightforward narrative continuity.
You couldn’t help but wonder if this year’s Ebertfest was going to be the last.
Throughout Malick’s film, the new and old are incessantly twinned, blurred into a package that suggests an experimental dance piece.
Malick’s beloved first film gets a somewhat light, though reverent, treatment from Criterion.