I would understand anyone who hates it, but for me it's A Ghost Odyssey: a mediation on eternity. Here I find the very best of Finisterrae, Post Tenebras Lux, Jauja, Meek's Cutoff and of course, The Tree of Life. Here I find regrets of mine, plus fears, hopes and resolutions. An intimate piece of Hollywoodish remedy, as if it was something common before A24. Today poetry is possible everywhere, and that's a blessing.
Bonnie Prince Billy (Will Oldham) as the prognosticator just about stole the whole movie. I have a soft spot for film concepts like this and Lowery uses the extended metaphor with a stylistic grace reminiscent of the deliberate patience of Malick and 'slow cinema'. It leaves so many haunting enigmas on the questionable spirituality of existence.
The reason I liked this movie was because it was existentially nihilistic, but wasn't pessimistic; to me it seemed that Lowery sought to emphasize the beauty IN the ephemerality of life and experience. This was incredibly moving for me. The reason i gave it a 4/5 however, is due to the way that this point was perpetually reinforced in the last third of the film. Although profound, it doesn't cut as deep as it couldve
I love watching people do average things. But the first half of the movie w/ rooney Mara sucked. EX: the pie eating scene.Mara is generally an uninteresting screen presence, and her attempts at profundinity, anger, sadness, and frustration with the unvarying movements of her fork to mouth failed by making what could been great into something bad.
As a purely audio-visual experience A GHOST STORY is pretty much beyond reproach, however, upon close inspection, and though it touches on weighty subject matter, it reveals itself as something facile; it is a hollow schematic, and the conceptual eddy it gets trapped in at the end exacerbates the problem. I will concede that I have certainly never seen this movie before, and that ain't no small thang.
A visual analogue to a Hammock album, an elegy for the South, a vision of time not as a straight line but as lateral motion on a plane. Unabashed explication can be a wonderful thing, but it does not quite work here. The film is beautifully wrought, and the first third is so quietly rich with emotion. It has the potential to be an ambient masterpiece, but instead it is far too direct. Hush, let it speak for itself.