Rendering 11

The article named 'To the Wonder' is a beautiful blunder was published on the site http://www.usatoday.com/story/life/movies by Claudia Puig   on 11 of April.
The author begins her article with the short descriprion of the film. Never was a film so visually stunning and so intolerable as To the Wonder.
Director Terrence Malick presents great beauty on the screen, but that doesn't save this pretentious, incoherent mess (*½ out of four; rated R; opens Friday in select cities) from insufferable tedium. Straining to be poetic and profound, Wonderemerges protracted and vapid, like a parody of an art film.
Dialogue is kept to a minimum. Tremulous voice-overs hint vaguely at inner lives, as Marina gambols and frolics while Neil trudges.
As for the plot of this film: Marina is a Ukrainian divorcée living in Paris with a 10-year-old daughter. Neil is an American who meets Marina while traveling in Europe.
Neil asks Marina and daughter Tatiana (Tatiana Chiline) to move back with him to Oklahoma. Once there, he is morose for no discernible reason. But the free-spirited Marina makes the best of it by going around twirling and spinning and jumping on beds.
There's only so much anyone can take of someone endlessly romping and half dancing through fields. By the same token, watching Affleck plod around wordlessly is hardly riveting. And for some reason his face is rarely on camera. Mostly, we see his back. His part could easily have been played by an extra. The relationship between Marina and Neil flounders as inexplicably as it blossomed. Marina still jumps on the bed, but her frolicking has grown somber. It's time for her to return to France. At this point nearly an hour has passed and the viewer is beginning to despair that anything of interest will ever happen.
With Marina gone, Neil reconnects with Jane (Rachel McAdams), a rancher and equestrian he ostensibly already knew, though no context is provided. Jane pops up in the middle of the movie and is around for only a few minutes. She sticks around long enough to say that she has always been one for "chasing moonbeams." Could that be what Marina was doing in all her frolicking? Do we care?
Marina returns for reasons that are unclear. But things still don't go well between the couple. Marina consults Father Quintana (Javier Bardem), who is too distracted to provide much counsel. Like Affleck's character, he's big on trudging. But Bardem's expressive face makes him intrinsically more intriguing. The priest makes regular visits to the poor and infirm, looking ever-baleful. He's facing his own crisis of faith.
The author underlines that wonder is in short supply here. Malick squanders cinematographer Emmanuel Lubezki's gorgeous visuals by not allowing them to be in service of a compelling story.
As for the author’s opinion about this film, it becomes clear from the very beginning. Never was a film so visually stunning and so intolerable as To the Wonder.