The Most Beautiful Fraud: To The Wonder

by Leonard Pierce

I sat down to write a review of Terrence Malick’s latest film, To the Wonder, with the goal of speaking only of the work itself, an approach I have often found valuable in music writing:  by trimming off the fat, by burying the excess, by considering only the art under contemplation and not the thick laters of cultural accretion and public opinion around a record, I am often able to get at the heart of what I love or hate about the music it contains.  But this seems impossible with the medium of film, particularly in the internet age; here, there is no opinion formed in a vacuum, and even if there were — in, say, the cold vacuum of space, to which I would dearly love to see many of my fellow cinematic bloviators condemned — someone would complain about how Ridley Scott did it better.

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