And if you stare at this image for an hour and 52 minutes, you will have legally seen To the Wonder.
If someone strides through an overgrown field or brushes their hands through some wheat in another movie, critics call them out for stealing Terrence Malick's style. That's how much he loves filming grass -- he basically owns the patent on it. He loves filming grass so much he actually got sued by investors for "forgetting" to make the movie he promised them, because he was too busy cobbling together his nature footage to make a doc*mentary. That's a real story -- the man got taken to court because he couldn't stop filming grass. Call it criminal or obsessive or just weird, but know this -- you will never love anything as much as Terrence Malick loves tall grass.
Christopher Nolan Kills Wives
Christopher Nolan's filmography has shown he's a versatile and imaginative director who can take any subject and turn it into an engaging, unique experience. Something as ridiculous as a man dressed as a bat, or a magical voyage into a dream, become compelling art. He made a rivalry between two old-timey dickish magicians into a thrilling murder mystery. His three-hour movie about dusty corn plants and love transcending the boundaries of spacetime had actual momentum. He's clearly a genius. But that being said, what's with his obsession with starting every story with a dead wife?
There are thousands of ways to give a character a dark and complicated backstory. Maybe they had a criminal past, or an abusive father. Maybe they smell like an ovulating cat's sex glands in a city with poor animal control. Despite the endless possibilities, in a Christopher Nolan movie, a dead wife always haunts the main character. It started in Memento, a film about a man who literally doesn't know a single thing, except that he has a murdered wife. In The Prestige, the Great Danton was trying to ruin the career of a fellow magician who accidentally killed his wife.