If The Tree of Life left you wondering if the once great Terrence Malick (Days of Heaven, The Thin Red Line) had wandered into the realm of self-parody, To the Wonder will tear any remaining doubt from your mind. Monotonous, inaccessible and embarrassingly self-indulgent, this elliptical cinematic meditation on love and indecision is not only a bad film, it could very well represent the point at which the enigmatic American filmmaker ceases to be relevant entirely. Say what you will about the meandering pretentiousness of The Tree of Life, at least it was unique. This movie, on the other hand, feels like a B-roll from that previous work, and is so riddled with recognisable Malick clichés – sunlight filtering through leaves, actresses pirouetting endlessly in fields, obvious philosophising whispered ceaselessly over the soundtrack – that it fails to be remarkable at all. But hey, at least it’s under two hours.
Although Malick seems to have long left the world of the conventional narrative behind, To the Wonder does unfold in a relatively straight-forward and mostly linear manner. A Parisian woman (Olga Kurylenko; Quantum of Solace) falls in love with an American man (Ben Affleck; The Town) and goes to live with him in the United States. But then they fall out of love and she returns to Paris, only to come back to America after Affleck has a brief relationship with Rachel McAdams (Midnight in Paris). So this waltz continues (complete with actually skipping and dancing) for about two hours until the movie just sort of…ends. Javier Bardem (Biutiful) also shows up as a priest around wanders around for a little bit – it’s about as connected to the other story as it sounds.
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