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Watching The Better Angels, it’s possible, at least for the first few minutes, to wonder whether Terrence Malick might be pulling the same stunt that Stephen King attempted by adopting the pseudonym Richard Bachman. Plenty of indie filmmakers have been accused of aping the director’s style over the years, from David Gordon Green (George Washington) to David Lowery (last year’s Ain’t Them Bodies Saints). No movie has ever looked as unmistakably like Malick’s work as this one, though. It’s all here: The camera that swoops restlessly across fields toward the actors, then careens away again; the reverent shots of unspoiled nature; the softly mumbled voiceover narration; the stern father and nurturing mother; the beyond-skeletal narrative. A.J. Edwards, The Better Angels’ writer-director, has credits on several previous Malick films—maybe Malick was creating a plausible cover? Perhaps he, like King, was curious to see how one of his pictures would be received without the expectations that his name inevitably creates?

Not likely. For one thing, Malick has two other films already in the can, and it’s unlikely he had time to shoot a third. More than that, though, The Better Angels lacks the ecstatic feeling conveyed by even a lesser Malick film like To The Wonder. It comes across as an apprentice work, not unlike the second-rate versions of paintings created by students who would work at the side of Renaissance masters. They have some value for what they reveal about the true artist’s working methods, but nobody with any knowledge mistakes them for the real thing.