 According to the film reviewer, what tone does Malick use to narrate "Thin Red Line"?
War and Pieces No movie in the last decade has succeeded in psyching out critics and audiences as fully as the powerful, rambling war epic The Thin Red Line , Terrence Malick's return to cinema after 20 years. But Malick, a certified intellectual and the Pynchonesque figure who directed Badlands and Days of Heaven in the 1970s and then disappeared, is in a different philosophical universe from Steven Spielberg. They're central to Malick's vision of the story, however, and not specious. A true work of art owes us more than literal horrors, and Malick obliges by making his theater of war the setting for nothing less than a meditation on the existence of God. After an Edenic prelude, in which a boyishly idealistic absent without leave soldier, Pvt. Witt (Jim Caviezel), swims with native youths to the accompaniment of a heavenly children's choir, the first part sees the arrival of the Allied forces on the island, introduces the principal characters (none of whom amounts to a genuine protagonist), and lays out the movie's geographical and philosophical terrain. The centerpiece--the fighting--goes on for over an hour and features the most frantic and harrowing sequences, chiefly the company's initially unsuccessful frontal assault on a Japanese hilltop bunker. The Thin Red Line has a curious sound-scape, as the noise of battle frequently recedes to make room for interior monologues and Hans Zimmer's bump-bump, minimalist New Age music.
 portentous
 frantic  egomaniacal  obtuse  portentous