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...house record for its first week in New York. That could be a sign of things to come, or may simply reflect the loyalty of Woody's fans. Even Paramount, which has made the most money from escape flicks this summer, is pinning its fall hopes on Terrence Malick's Days of Heaven, a bleak story about migrant farm workers in Texas...

Author: /time Magazine | Title: Show Business: Hollywood's Hottest Summer | 8/21/1978 | See Source »

...innovative director probably could have reshaped this material; in the hands of Jean-Luc Godard or Terence Malick, Straight Time might even have been a fascinating variation on Breathless or Badlands. Ulu Grosbard, who did direct, is but a journeyman film maker. He substitutes slow pacing and dour photography for style. Only the action scenes get him moving: when Max and his cronies stage their robberies, Straight Time actually manages to work up a little sweat...

Author: /time Magazine | Title: Cinema: Hard Labor | 4/3/1978 | See Source »

Womack, who had no previous acting experience, said this week he got the part because of his close friendship with director Terrence Malick. "Badlands" was Malick's first and most successful commercial film...

Author: NO WRITER ATTRIBUTED | Title: Womack Tackles Cameo Role As Trooper In 'Badlands' Film | 10/4/1977 | See Source »

...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...

Author: By Richard Turner, | Title: THE SCREEN | 8/15/1975 | See Source »

...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...

Author: By Richard Turner, | Title: THE SCREEN | 8/15/1975 | See Source »

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