Word: malick
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Dates: during 1970-1979
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...companion film to Steve Spellberg's Sugarland Express: both rural road movies with a fifties atmosphere, both by young and unknown directors. Spellberg's film, which was lighter and more abourdiet, was a success, and Spellberg has just made the biggest box-office movie of all time. Terry Malick, who made Bedlands, would have submerged again but for somehow flanging this re-lease, and no doubt being pleased that a bally of critics have sung its praises to the skies upon its return...
...know what's going on. But they're so unaware and insulated from the terrain upon which moral judgements are made that their crimes are uninteresting, and you never see the connection to 1950's America or whatever is supposed to justify their deadhead lost-child innocence-turned-guilt. Malick shows gory murders, then our sympathetic characters, and the inevitable tearing-apart this inflicts on the audience is supposed to pass for ambiguity and profanity. Well made by Malick, well acted, but all in all kinds boring and overrated, considering the fuss it's been getting...
...Sugariand Express. This didn't last very long in Boston, at the inauspicious Pans Cinema (from lisa to Disney last month), but last year it was touted along with Terry Malick's Badlands as an exciting new seventies road picture by a fresh young director. A good movie to be showing at Harvard Directed by Steven Spielberg, with Goldie Hawn. Ben Johnson, and Michael Sacks '70 of Leverett House and Albany...
BADLANDS. The affectless, antiseptic world of two young killers delineated with hard skill by Director-Writer Terrence Malick. A chilly, forbidding work that catches currents of casual violence which seem typically American...
...Malick, who is 30, is a protégé of Arthur Penn, whom he thanks in the end credits and to whose Bonnie and Clyde he is indebted. Badlands, however, is very different in its sensibility - chilly, savage and rueful. It might better be regarded less as a companion piece to Bonnie and Clyde than as an elaboration and reply. It is not loose and high-spirited. All its comedy has a frosty irony, and its violence, instead of being brutally balletic, is executed with a dry, remorseless drive...