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Terrence Malick has made only four films in three decades: Badlands, Days of Heaven, The Thin Red Line, and now The New World. The first two have, over time, been recognized as classics. The Thin Red Line seems to be following in their footsteps, provoking thoughtful discussion among cinephiles for its lyrical cinematography and its unique contemplative style.

The New World may become a classic as well, but it's too early to say. As is the case with many masterpieces, critics are initially divided in their responses. Malick's style is so different, it is enthralling for some, boring and even annoying for others. The New World makes heavy use of the internal monologues, thoughtful questions, and poetic flourishes that dominated The Thin Red Line. Its complex, layered use of metaphor and symmetry make it a work that cannot be adequately assessed in one viewing.

Thus, it's likely to frustrate viewers who want a more traditional narrative, a lot of action, and a conventional romance. Here's a filmmaker who's as interested in the swaying trees as he is in the battles. The way he tells a love story, the audience becomes invested in one romantic relationship, only to be asked to shift gears and consider an alternative suitor two-thirds of the way through the film.

Malick's version of the myth of John Smith and Pocahontas begins with the arrival of the British on the shores of Virginia territory in 1607, and ends a decade later when Pocahontas visits London. History buffs will probably file complaints, but Malick is more interested in the power of myth than the facts, more invested in spiritual questions than historical accuracy, examining the dynamics of cultural collisions in the manner of a poet rather than a documentarian.

My full review is at Christianity Today Movies.

Brett McCracken (Relevant) says this film begins where The Thin Red Line ended: "with a boat of weary men escaping a brutal past and hoping for a new start. Though Line is set some 335 years after World, both films evoke a vision of humanity's quest to transcend imperfect circumstance and begin anew. It is a sentiment of man's soul that has driven him since he lost Eden. How do we regain what was given us? Can we ever reach those distant shores and 'exchange this false life for a true one'?"

McCracken exhorts viewers, "Let the film wash over you like a piece of music in headphones—get immersed, open your eyes and ears and you will find The New World revelatory."

Peter T. Chattaway (Canadian Christianity) shares excerpts from his interviews with the cast, and says The New World "is of a piece with Malick's other films, which emphasize visual poetry over more conventional forms of drama or narrative. For Malick, plot and character are less important than memory and experience. Malick's dream-like visual style, and the way he holds seemingly unrelated images together through contemplative voice-overs, make for challenging viewing. But in some ways, The New World is one of his more accessible films."

Steve Beard (Thunderstruck) says, "If you are looking for a documentary on colonial life, watch the History Channel. If you are intrigued by a poetic love and loss story with all the elements of out-of-the-ordinary filmmaking, make sure to catch Terrence Malick's New World."

Christian Hamaker (Crosswalk) feels very differently. "The New World generates only mild interest before turning into a tedious bore. It's a crushing disappointment."

Tom Neven (Plugged In) writes: "This is definitely not the Disney version. … We get no silly Indian babe in tight buckskins mooning over a buff, surfer dude-ish John Smith. Instead, director Terrence Malick has taken us to the heart of the story. He makes extensive use of voice-overs to give us the principals' thoughts, and while this is normally death to a movie, here it works because it lets us hear Pocahontas' musings (in English), which manage to be mature yet naive, and John Smith's self-doubt and conflicted loyalties."

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January (Web-only) 2006, Vol. 50