“Terrence Malick’s cinema, particularly those films produced within this decade, place unusual demands on a viewer. With a relaxed obligation to plot (something that could be considered threadbare in The Tree of Life to nil in Knight of Cups) and an experimental sophistication that rejects traditional formalistic notions, the apostasy from the Church of Malick seems to be increasing in membership with every passing film. Those who maintain a rigid allegiance to his earlier films, Badlands and Day of Heaven, will likely have continued doubts of Malick’s visionary gifts with Knight of Cups. But those who have accepted and embraced his new visions of distorted realities, spiritual crises, and existential anxieties in The Tree of Life and particularly To the Wonder will be further moved by Malick continued expressionistic experimentalism. Knight of Cups is a canonical work that further solidifies Malick’s position as the most significant figure in contemporary American cinema.”
Read the full review at Chicago Cinema Circuit.