Knight of Cups


Action / Drama / Romance

Knight of Cups (2015) download yts

Rotten Tomatoes Critics - Rotten 50%
Rotten Tomatoes Audience - Upright 89%
IMDb Rating 5.8 10 10461  


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Natalie Portman as Elizabeth
Teresa Palmer as Karen
720p 1080p
876.56 MB
23.976 fps
1hr 58 min
P/S Unknown
1.81 GB
23.976 fps
1hr 58 min
P/S Unknown

Movie Reviews

Reviewed by nickle101 1 / 10

Long & vacuous

Beautiful shots, lots of them. 2 hours of perfume ads, with an unhappy protagonist, Christian Bale. He is apparently a successful, but definitely miserable, comedy script writer; unintended irony I guess. He doesn't do anything, other than feature in most shots, often bare foot, speaking monotone about the difficulties of 'being', occasionally swimming in his clothes in swimming pools and the sea, often accompanied by women, one more beautiful than the other. Sometimes, he chases the women round the room having pillow fights. The women, most of them, wearing flimsy designer attire, dance and wave their arms about for no apparent reason. The most exciting bit was the 5 sec. shot of Christian Bale riding a skateboard. The film made me realize my life is not that bad after all.

Reviewed by Stamone Ryan 1 / 10

Not a movie not a movie. It's a narrated commercial for nothing, or maybe for the cameras they used for filming? The shots are cool, I'll give it that, one point for the cinematography. Nothing happens in this commercial, there's no story arc, no plot, no character development. You will not experience any emotions during this film, unless you are moved by perfume ads in magazines. You will not have any thoughts about this thing either, besides 'why did I finish that?' , if you can survive to the end. Its a tough watch. Lots of pretty girls in it, so if that means anything to you, then I might recommend this.

I don't think they will release this movie in theaters, it won't be worth that type of distribution, because the movie looks expensive and the cast is top notch. I am not a film critic by any means, but I know this is bad. Not funny bad, just painstakingly boring and pointless bad.


Reviewed by Diand 9 / 10

Sein and Dasein

Recently Peter Greenaway confessed he almost never saw a movie because there was no development to the form, still being a staged play, with actors doing their lines before the camera: just painting by numbers. Malick is one of the few that do not fit that description of the current state of the art, the others being directors like Tarkovsky, Kar-Wai and to a lesser extent Kubrick.

In Knight of Cups all of Malick's trademarks are present: Rapid intersection of images, hiding of the story in the imagery, perfection in editing and the stream of consciousness-technique where thoughts and feelings are woven in voice-over with narrative. Knight of Cups has many autobiographical elements like The Tree of Life (loss of a brother) and To The Wonder (loss of relationships) already had: A son reflects on the essence of life, on his problematic ambiguous relationship with his father (recently deceased, one chapter in the movie is called Death) and on his relation with his surviving philanthropic brother (also deceased). Then there is the stream of women passing through his life and his feelings of lack of fulfillment. Strongly biblical in nature, questions of guilt and forgiveness pass on throughout, the movie being Malick's therapeutic instrument for reflection on his own life. It invites the audience to deconstruct the images, working as a kind of reversed post-modernism. It blurs the line between real and imagination, combined with the images it works almost hypnotically.

There is a strong comparison here to Tarkovsky's autobiographical Zerkalo / Mirror, where the story itself was simple, but the container was rich and complex as only film can be. (There is the famous story of the cleaning lady (check it out on IMDb) who explained this Tarkovsky movie in one sentence to all critics still baffled by its meaning and trying to make sense of it all).

There are so many great elements in Knight of Cups only a few can be stipulated here:

• Comparing deep personal problems to the largest possible context, for example shots of the atmosphere going over in shots of Rick's convertible. • Humanity finding his true salvation in nature, frequently a scene ends with a shot of rock formations (or the famous moving stones) in the desert, suggesting time, eternity and acceptance. • Christian symbolism: A whole scene in Las Vegas ends with a statue of an angel.

Imagewise, it is his most accomplished movie: amazing shots of both nature and culture intersecting in a way that keeps haunting you; Lubezki's cinematography and Fisk's production design here at the height of their possibilities. One example: The allure of female beauty is brought to the screen so beautiful and intelligent it results in striking image after striking image: shoes, bodies, masks, ads.

It is very interesting to compare the vision on humanity Kubrick, Herzog, Mann and Malick have: Where Kubrick was the Sartre of filmmaking being pessimistic about the existence of man; Herzog sees nature and human culture as strictly separate entities where humanity should not venture. In Mann's world, humanity has lost its emotions, being captured in its own Foucauldian technological prisons. Malick however sees humanity in disarray with nature and part of salvation lies in the resolution of that misalliance.

It can also be said that Malick's work is the visual equivalent of the writings of Heidegger, Malick being the translator of Das Wesen der Grundes / The Essence of Reasons. In Knight of Cups we see an inquiry into Sein (Being) through a person for whom Sein is a question (Dasein). Experience can only be described from the viewpoint of this Dasein. A voice without a voice, coming from conscience, calls Man back in self-awareness and fulfillment (back in Eigentlichkeit from Uneigentlichkeit) meanwhile answering questions about his own existence.

This won nothing in Berlin with all prizes going to minor, uninteresting filmmakers. I think it would also be difficult for Aronofsky to admit his own filmmaking limitations. Although it will likely receive little peer-to-peer or critical appraisal, it brings the art of film to a higher level, earning a place in film history considerable time from now: nonsensical to many, life altering for some.

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