Texas Killing Fields is a strong, straightforward crime thriller which tells the story of three cops running the gauntlet in an attempt to solve two brutal crimes. But the film is particularly notable for its haunting tone and superlative acting.

Director Ami Canaan Mann does everything she can to give the movie an infectious gloom, an impressive imitation of the sprawling claustrophobia specific to Southern poverty. Mann, daughter of the legendary Michael Mann (who also co-produced the film), makes a lot of smart choices here, but none more crucial than the cast.

Jeffrey Dean Morgan and Sam Worthington bring their own unique intensity to their natural good cop/bad cop relationship, and a pre-Oscar nomination Jessica Chastain (The Help) brings a fiery quality to a supporting role. As usual, the 12-year-old Chloe Moretz shows remarkably advanced nuance for an actor her age.

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In what will surely come as a surprise to many people who don’t follow the Internets (also, most likely to mainstream audiences), Terrence Malick’s The Tree Of Life was the top film at the 15h annual Online Film Critics Society Awards. The awards are given out by the Online Film Critics Society, an organization made up of film reviewers, journalists and scholars based in the U.S., Canada, Europe, Latin America and the Asia/Pacific Rim region.

Malick’s film took the top prize for best picture as well as director, supporting actress (Jessica Chastain), editing and cinematography. No other film won more than one award.

Michael Fassbender took best actor for Shame and Tilda Swinton was best actress for We Need To Talk About Kevin. Best supporting actor went to Christopher Plummer for Beginners.

Click through for the full list of winners:

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How do you even begin to describe a film like Tree of Life? Words such as “art-house film,” “sweeping,” and “transcendent” are accurate, but misleading in their connotation. Typically they evoke the image of a self-important, storyless mess, mired in ambiguity and bereft of substance.

In its defense, the tone is humble. The story is of a son recalling childhood memories of his father and reconciling the differences between them. The clarity is in the simplicity and beauty of its scenes. And the substance is in the detailed moments it creates to evoke our own similar experiences.

With an opening shot of the universe itself, director Terence Malick (Badlands, The Thin Red Line) implies mammoth importance, but he avoids pretension by never forcing a message. This shot and others show an awe and respect (to say nothing of their magnificence) for the subject matter that ask us to appreciate rather than tell us what to think.

Similarly, Tree of Life has a message, but it doesn’t preclude the audience from appreciating its scenes on their own terms. A small sequence accompanied by Gorecki’s Symphony number 3 had a very deep impact on me. Other audience members laughed and were then were quiet when one of the boys tries to accompany his father on the guitar.

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Breathtaking.  Profound.  Beautiful.

I can see why this film got mixed reactions at the Cannes Film Festival this year, yet still managed to win the Palm d’Or, the most prestigious award of the festival.  To some, this film might seem a bit melodramatic and abstract for their taste.  But to others, like myself, I found Terrence Malick’s The Tree of Life to have a rare and honest beauty to it that can only be described as fine art.

What you have to realize going in is that this feels more like a visual poem than a film.  A cinematic ballet that brings together stunning imagery with powerful storytelling.  Writer and director Terrence Malick is only one of the few remaining auteurs left in filmmaking, meaning that all his films consistently reflect his personal creative vision.

Sure, some could argue that a little more dialogue added to the film could have made it more relatable to a wider audience, but that is not the film Malick wanted to make.  His film is elegant and sophisticated, told both with expertise and creativity.

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