Song to Song: linear, consequential storytelling (even when the structure doesn’t appear to be so) is addictive, or at least that’s what is given most of the time. Terrence Malick goes very much against the grain, this film being a collection of fragments. Each moment, we are given unrelated voice-overs, soundtracks and beautiful images (this being, after all, shot by cinematographer Emmanuel Lubezki, in many great looking locations); Malick is trying to say something, but it’s hard to grasp what he is aiming at here, as well as connect with the ill-defined characters. This time, it just doesn’t click. It is an awesome cast on paper (Rooney Mara, Natalie Portman, Cate Blanchett, Ryan Gosling, Michael Fassbender, are all very worthy performers), but the nature of the characters doesn’t escape the excessively fragmented narrative; furthermore, their on-screen actions being as peculiar as they are doesn’t help (more often than not, the characters are sharing tactile experiences as if madly early teenagers in love, or lust, with their counterparts).