Song to Song comes with comes with a dual-layered UHD66 Disc and a Region A locked Blu-ray Disc. Vital Disc Stats: The 4K Ultra HD Blu-ray We're lucky to have someone like Malick, and with his ode to the Austin Music Fest scene, Song to Song tells a creepy story with flawed characters to the backdrop of excellent music. In my opinion, Malick is a genius who is doing things in film that nobody ever has done and succeeding at them. Nothing is ever really at stake in these Malick movies, but rather a soft reading of a poem in visual form, which is very difficult to keep your interest. It's an acquired taste for sure, but it's beautiful, tasteful, different, and full of great music and actual musicians like Iggy Pop. You're a fly on the wall, or in this case, flying around in front of these characters as they slowly walk or drive somewhere, as someone narrates the tone and feel of the film to you. That synopsis right there is more narrative you will get then if you watch the film, but that's Malick's style. A love triangle ensues and conflict arises in each of these people's lives.Īdd to the mix Natalie Portman, who plays a waitress Fassbender seduces to orgies and the life of the wealthy music scene. However, Mara is involved with a big music producer (Michael Fassbender), who has a sex life like the famous rock stars he handles. If I were to describe Song to Song, I'd say that the film follows Ryan Gosling and Rooney Mara, two people working in the music scene who seem to fall in love. Malick's latest film Song to Song follows this style to a tee, but has a backdrop of the Austin Music Fest scene. It's very poetic and stunning to look at, but if you're looking for a straight to the point narrative film, these movies are not your cup of tea. Instead, the actors narrate their feelings as we get tons of beautiful shots of architecture, scenery and these characters walking slowly in different landscapes. In fact, barely any dialogue is ever spoken in these films. Since Tree of Life and on through To The Wonder and Knight of Cups, we fly through a story of many characters and their strange and conflicted lives without much dialogue. This is Malick's style now and we have to get used to it. If you've seen any Terrence Malick films since Tree of Life, you've come to expect a fish-eyed lens that follows its characters and storylines like that famous Forest Gump feather, floating from scene to scene as a spectator.
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