To The Wonder (2013)
Critic Consensus: To the Wonder demonstrates Terrence Malick's gift for beautiful images, but its narrative is overly somber and emotionally unsatisfying.
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Critic Reviews for To The Wonder
Malick is employing his usual style of montage and voice-over narration but in a new, contemporary setting that makes Wonder feel like his most vital work in years.
Love is a many-splendored thing, except when it isn't in To the Wonder, a wispy romantic movie about the death of a romance.
What is most affecting is Malick's intent. He plainly devised the story to give him a series of panels for the expression of feeling.
Your response to all this depends extremely heavily on how much philosophizing and pretty pictures you're willing to accept in lieu of a story.
To the Wonder shouldn't be passed off as "self-parody," but as Malick's self-destructed misfire.
Audience Reviews for To The Wonder
"You have to struggle with yourself. You have to struggle with your own strength".
Say what you will about the stylings of Terrence Malick. He's undoubtedly a director that puts his own stamp on things and refuses to tell a story in any conventional sense. He's more interested in capturing moments and subtle glances while pondering the larger themes of love, life and religious beliefs. When you back at his older works of "Days Of Heaven", "The Thin Red Line" or "The Tree Of Life", for example, you'll find these themes in abundance. From a personal point of view, I often find Malick's approach to be highly appealing but with "To The Wonder", I was left somewhat distant and uninterested this time around.
Marina (Olga Kurylenko) is a Parisian single-mother who falls madly in love with tourist Neil (Ben Affleck) and moves with her daughter Tatiana (Tatiana Chiline) to America. Their love begins to dissipate, however, and Neil eventually seeks solace in his old friend Jane (Rachel McAdams) as Marina turns to Father Quintana (Javier Bardem), who is also exploring his own dwindling faith and confusion.
Opening in Paris with the focus on Affleck and Kurylenko who obviously have a strong emotional engagement, we are guided through Malick's soulful exploration of love. We hear the internal dialogues of his characters as they strive for reason and understanding. Unfortunately, as a viewer, I too was searching for these things as Malick is so elusive and overly suggestive that it becoming increasingly frustrating and depressing as we observe hugely underwritten characters that do very little to grab your attention or even evoke any level of appeal or understanding.
Malick's vision is certainly a beautiful one and his cinematographer Emmanuel Lubezki delivers some striking work. The camera pirouettes with long, sweeping movements that again capture Malick's ethereal approach. However, after about 20 minutes, you realise that it feels like you're watching a Chanel perfume ad and after several scenes of a cool breeze rustling through the cornfields and Kurylenko dancing her little cotton sock off under an autumnal sun, it's apparent that this all we're going get. The dialogue is sparse, to say the least, and there's more nibbling on earlobes than there is any actual verbal exchanges between the characters. Affleck, in particular, says very little throughout the entire film and is only required to stand around with his hands in pockets and brood. Rachel McAdams makes an appearance of another of Affleck's love interests but all she has to do is brush her horse's main on her Oklahoman ranch and let the wind blow her hair across her face from time to time. Our religious commentary comes in the form of Bardem's afflicted priest who has began to question his spiritual fulfilment. Is god still around us? Does such a entity even exist? Would relationships be easier if we felt more of his love and presence? Do we really care?
It's not often I've find myself criticising Malick. Like I mentioned earlier, he's a director I greatly admire and "The Thin Red Line" is a masterwork in my eyes but this is strictly a colour by numbers effort that's seriously aloof and lacking in narrative. Some may revel in it's abstraction and ambiguity but, quite frankly, I found it to be tediously dull. As much as I love Malick's affinity with nature, I'd rather have watched the grass grow on this occasion.
Not so much Wonder as Wander; Malick's latest existential elegy is meandering, pretentious clap-trap that surprisingly (from a former philosophical lecturer) has very little to say and it's entirely understandable why it was met with boos at the Venice Film Festival.
An impressionistic portrait of a love affair between a French woman and an American man. Nothing happens in this well-intentioned bore that seems to be fashioned from leftover scraps of THE TREE OF LIFE.
It finally happened: I found a Terrence Malick film I don't like.
Considering how all his films are basically the same, that seems a little odd to say, but there it is. I think he finally hit a rut. Either that or maybe I'm finally at a point where I can admit that maybe I'm not the admirer of artsy crap I thought I was
The simple story here involves a man named Neil who romances a woman named Marina while on a trip to France. He convinces her to move back to his native Oklahoma, but their blissful life turns sour when Jane- an old flame, comes back into Neil's life. That's basically it. There's also segments where a local priest dispenses sage advice, but the bulk of the film is about love in various forms, as seen through the lens of on again/off again relationships.
Like The Tree of Life, research tells me that this film has shades of autobiographical material from Malick's own life. That's cool I suppose, and, while I do appreciate unconventional approaches to conventional material at times, I really don't think it works here.
There are admittedly some profound, beautiful, and excellent moments here, but they're surround by a number of really mundane, tedious, and, I'll be honest, achingly boring moments. There's dull moments in other Malick films, true, but with this one, they really stick out, and there's not a enough of the good stuff to keep things working.
This is a story that perhaps didn't need to be AS abstract. It just meanders about, throws all kinds of words, sounds, and images around, and then ends. It doesn't help that with a lot of the narration, that some of what's said is just plain trite, banal, and uninspired.
For a movie about love, this is amazingly cold, detached, and emotionally vacant. I don't really care about the characters and can't help but shrug as I watch their lives unfold, which basically consists of lots of twirling, walking, and not saying much...especially Ben Affleck. Based on his performance here, I think he could have done quite well for himself during the silent era of cinema. He seriously has like no more than a paragraph's worth of lines.
I had hoped that Javier Bardem as the priest would have saved the movie, and indeed, some of the moments I really enjoyed involved him, but ultimately even he couldn't make this film any better.
Yes, the film is well shot, looks terrific, and has nice music, but in the end it really doesn't amount to much. Again with the redundancies, but somehow this film, despite being like the rest of Malick's films, somehow ends up not working.
Unless you're a Malick completist, I don't really recommend it. Even then, I'm not really sure if I'd recommend it. I mean, I love this guy's work, and even I can say this film is all that worthwhile.
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