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100There is simply nothing like it out there: profound, idiosyncratic, complex, sincere and magical; a confirmation that cinema can aspire to art.
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100This film is undoubtedly a piece of art, as much so as a Picasso painting, one that invites viewers to immerse themselves, scratch their heads and consider it.
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100The Tree of Life is a religious experience. Overtly. Audaciously. Unashamedly. No film has ever reached as high toward the face of God and, in our commodified future, few are likely to try.
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100Still, somehow, The Tree of Life - impressionistic, revelatory, elliptical - works.
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100At times trying and perplexing, but it also contains some of the most psychologically insightful and ecstatic filmmaking imaginable.
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100The only other film I've seen with this boldness of vision is Kubrick's "2001: A Space Odyssey," and it lacked Malick's fierce evocation of human feeling.
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100A sense of reconciliation is Malick's great accomplishment in The Tree of Life, affording us equal wonder at grace and nature alike.
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100The film is gorgeous and abstract, leaping around in time and space, structured in movements and more like a symphony than a conventional narrative.
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100A shape-shifting film, it resembles a poem. At other moments, it is closer to a symphony. Most often, it approximates a fervent prayer.
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100With disarming sincerity and daunting formal sophistication The Tree of Life ponders some of the hardest and most persistent questions, the kind that leave adults speechless when children ask them.
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100In terms of scale, The Tree Of Life recalls the mammoth ambition of Stanley Kubrick's "2001: A Space Odyssey," but it's also more intimate and personal than Malick's previous films, rooted in vivid memories of growing up in '50s Texas.
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100Better than a masterpiece - whatever that is - The Tree of Life is an eruption of a movie, something to live with, think, and talk about afterward.
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100The Tree of Life enthralls right from the start.
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100Result is pure-grade art cinema destined primarily for the delectation of Malick partisans and adventurous arthouse-goers.
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91An extraordinary thing, and one that I shall likely esteem for a long time. Philosophically, though, it's still mired in the primordial ooze in a way that will, I suspect, forever make me hold it at arm's length.
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91More meditation than movie, Terrence Malick's The Tree of Life is bound to mystify, awe and exasperate in equal measures.
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90The middle section of the film, in which we follow Jack's childhood in a series of fragmented memories from birth until about the age of 12, is as astonishingly precise a rendering of the way the world looks to a child as I've seen on film.
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90Daring in concept, occasionally daffy in execution and ultimately unforgettable, Mr. Malick's film offers a heartfelt answer to the question of where we humans belong - with each other, on this planet, bound by love.
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90Tucked away inside the grandeur, though, and enlivened by jump cuts, is a sharp, not unharrowing story of a father and son, and, amid one's exasperation, there is no mistaking Malick's unfailing ability to grab at glories on the fly.
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90The Tree of Life is pretty much nuts overall, a manic hybrid folly with flashes of brilliance. But even if that's true it's a noble crazy, a miraculous William Butler Yeats kind of crazy, alive with passion for art and the world, for all that is lost and not lost and still to come.
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90Brandishing an ambition it's likely no film, including this one, could entirely fulfill, The Tree of Life is nonetheless a singular work, an impressionistic metaphysical inquiry into mankind's place in the grand scheme of things that releases waves of insights amid its narrative imprecisions.
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90Aggressively impressionistic and unapologetically spiritual, Malick's long-gestating meditation on the meaning of life is, if nothing else, a singularly original and deeply personal film - a growing rarity in American cinema.
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88The movie plays out as a series of memories, so exact and evocative that watching it becomes an immersive experience.
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88The Tree of Life falls short of masterful but retains a power that far too many motion pictures lack. It's about SOMETHING and, even when it fails, it does so in a manner that is interesting and not infantile.
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88This may be the most overtly Christian mainstream picture since "The Passion of the Christ." Unlike that one, though, Malick's comes with a generosity of spirit large enough to get all sorts of people (including non-believers) thinking about the nature of faith and what it's all about.
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88The Tree of Life's fetching images are like glowing shards of glass, and together they form a grandiose mirror that reflects Malick's impassioned philosophical outlook. It's unquestionably this great filmmaker's most personal work, a revelation of how he came to be, why he creates, and where he feels he's going.
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88For all its flaws, The Tree of Life is a stunning exception to the rule that you can safely check your brain at the popcorn counter until after Labor Day. That's enough to place it among the year's best movies, or at least most-talked-about ones.
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88Like its predecessors (Badlands, Days of Heaven, The Thin Red Line and The New World), Tree delivers truths that don't go down easy. No one with a genuine interest in the potential of film would think of missing it.
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83Malick clings to the promise of grace: His vision of the afterlife is a dreamy beach, enhanced by an excellent playlist of fine classical music, and promising the peace that surpasses all understanding. Plus a beautiful sky.
User score distribution:
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Positive: 118 out of 210
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Mixed: 18 out of 210
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Negative: 74 out of 210
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