Malick's twirling horndog period climaxes with an exasperating whimper (you know it's trouble when *i'm* restless during a movie that stars Rooney Mara and Cate Blanchett), but this still might be my favorite of the post-TREE OF LIFE adventures, if only because the film's freeform approach can be a nice complement for its portrait of drifting youth.

but like… does Malick have a tin ear for modern music, or was he just forced to work with whomever he found hanging around Austin at the time? a little bit of both? Patti Smith aside (and i'll spare a thought for Lykke Li), the music in this movie is... just fucking wretched.

also, it's frustrating to think of all the incredible footage that was left on the cutting room floor… that's always the case with Malick, but this is the first time that I'm anxious at the idea of what someone else might have done with it. Malick said his first cut ran 8 hours, and i'd much rather watch that than sit through this 130-minute cut again.

ANnnyyyway, i tend to agree with all of the amusingly reverent types who say that Malick — even *contemporary* Malick* — isn't made for hot takes, so i'll leave it there in lieu of something longer.