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“... There is a mystery about Terrence Malick’s new movie, but it has nothing to do with life, death and the wonders wrought by the maker of the universe, which are the film’s modest ostensible subjects. The mystery about The Tree of Life is how a work that is truly terrible in so many respects can remain so weirdly interesting ...”

“... cinema, having shot nine of Truffaut’s films and seven of Rohmer’s, but recently his Oscar for Malick’s Days of Heaven has encouraged Americans to take a chance on this independent Spaniard who has three times been exiled – from Franco’s Spain, Batista’s Cuba and Castro’s Cuba. Among his Transatlantic credits are Jack Nicholson’s ...”

“... a kind of shot/ reverse shot, the glance of farewell is reciprocal. This occurs towards the end of Terrence Malick’s The Tree of Life (2011), which centres on a family in a Texas town in the 1950s. The use of voiceover is characteristic of Malick – no other filmmaker has been so devoted to the device. Also typical ...”

“... on the Palau archipelago. Hell in the Pacific might have been made by a pairing of Buñuel and Terrence Malick. It shows two animals helpless in paradise, and works out an ecological equation decades ahead of its time. Through exhaustion and a laughless mortal comedy, the enemies are driven to collaborate. They build a raft to escape the atoll only to ...”

“... New York. With its sequence of short, distilled scenes, it has the impressionistic quality of a Terrence Malick movie – or maybe it just reminded me of the young family with three sons in Malick’s The Tree of Life (released, coincidentally, the same year). We the Animals is narrated by the youngest son, who ...”