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However you feel about the famously enigmatic Terrence Malick, one thing is safe to say: the reception of his latest films has been far cooler than the kinds of rapturous applause his prior efforts, dating back to in 1973, have yielded.

It’s a fact that makes it almost impossible not to factor the iconic 73 year-old filmmaker himself – and his faltering public opinion – into discussions of his work.

I remember watching them on the red carpet one year at the Oscars while she was being interviewed.

And while we never saw JLO, say, feeding Ben Affleck, she did endure a similar kind of bro-f-ckery when they were together, sitting beside him wordlessly while he played poker, the embarrassment of him going to a peeler bar during their engagement and there was some of that in Marc Anthony too as there have long been reports that he was controlling of her when they were married. JLO will never not be a bigger name than ARod …ever.

Still, as young filmmakers still attempt to recreate the magic of Malick’s early masterpieces decades on, the lyrical, bewitching makes its restless home amongst the Austin music scene.

It has all the obligatory trappings of Malick’s recent works: contemplative, hushed narration, pretty people flitting around one another, a rapturous moving camera, and yes, lots of belly kisses.

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She lent her voice to the Pixar film The Incredibles. She starred as Grace Hanadarko on the TV series Saving Grace from 2007 to 2010. Cut to grown-up Jane Craig (Holly Hunter) power walking through a random urban landscape; her focus is once again single-minded, but not to the extent that she can’t stop and grab a newspaper from a string of kiosks outside her hotel. No offense to the great Winger, a battler who’d more than held her own onscreen with the bullying likes of Richard Gere and Shirley Mac Laine, but she would’ve likely brought a softer, less antic energy to Jane.It’s like trying to envision Christopher Walken as Han Solo: you can’t.But the first main difference makes itself known with the narrative – the strongest one of the trilogy – which centers on a love triangle of sorts between cocky music producer Cook (Michael Fassbender), characterized early on in the film as the kind of guy rich and rock-and-roll enough to throw an annual party for a deceased friend displayed proudly in a milky white urn, BV (Ryan Gosling) a smarmy, unrelentingly charming up-and-coming musician and Faye (Rooney Mara), a local girl with a heavy sense of moral culpability, whose narration anchors much of the feature.But while the pitch sounds perhaps frustratingly similar to works of Malick’s past, it’s the way the narrative continues to pitch outward, and slowly weave itself into a gorgeous and impossible arras that gives The film opens in a dust-filled arena, as dozens of men swirl around in a mosh pit, kicking up dust while the angst-filled preamble to a Die Antwoord song creeps along the soundtrack.“There were so many lead roles that were offered to me, that were available, when I was in my 30s,” Hunter said.