Every Paul Schrader Movie, Ranked

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This piece was initially released on May 16, 2018. Since then, it has been revised to include more of Paul Schrader‘s subsequent films, such as “Oh, Canada,” which can now be rented digitally.

Paul Schrader didn’t watch a film until he turned 17 years old, and the Disney movie “The Absent-Minded Professor ” at a Grand Rapids, Michigan theater was his first sneaked escape from his strict Calvinist household. He wasn’t particularly moved by it. However, it was only when he delved into 1960s European cinema during college that he developed a passion for filmmaking. As Schrader explained to Nicolas Cage in “Interview” magazine, “We often love the movies we fell in love with when we first discovered cinema. For me, that was serious cinema.

From his highly praised early career as a screenwriter, such as writing Martin Scorsese’s “Taxi Driver”, to his four-decade-long directing career, Schrader’s intense style consistently emerges, even when the films themselves don’t follow the harsh styles of his influences. His psychological depictions of lost individuals yearning for redemption manifest in various ways: a fashionable escort wandering around Los Angeles to the beat of Blondie’s “Call Me” (American Gigolo); a Japanese author battling his own repression (Mishima: A Life in Four Chapters); a drug dealer aiming for a fresh start (Light Sleeper); a former actress and her wealthy boyfriend dealing with the depravity of their surroundings (The Canyons), among others. Schrader’s films span a wide range in quality and mood, but they all reflect his enduring fascination with isolated characters seeking tranquility amidst high-pressure situations.

To celebrate the digital debut of his latest movie titled “Oh, Canada”, Vulture has compiled a varied list ranking Schrader’s 24 films. This list can be rearranged in numerous ways according to one’s preferences or artistic leanings. Although not all of Schrader’s movies are triumphant, most of them are intriguing and significantly reflect the individuality of their creator. A fitting tribute to this dedicated auteur is to delve into the complexities of his lengthy career.

24.
Forever Mine (1999)

Forever Mine, Schrader’s take on ’40s-style melodramas, falls flat in almost every aspect. Joseph Fiennes, portraying a young cabana boy involved in an affair with Gretchen Mol’s dissatisfied wife of a shady businessman (Ray Liotta), is a questionable choice for the role. His attempts to depict a youthful lover and later, a disfigured attorney, are equally unpersuasive. The film heavily relies on the intense, enduring romance between Fiennes and Mol, yet the apparent lack of chemistry between them weakens the love story significantly. (Liotta delivers a standard Liotta performance, which is the movie’s strongest point.) John Bailey’s bright cinematography can be visually appealing at times, but the convoluted plot twists and intense, over-the-top emotional content are too much for the actors to handle. They come across as stiff and pretentious rather than heartfelt, suggesting they were overly conscious of the homage being paid.

23.
Witch Hunt (1994)

In an alternate Los Angeles where magic is prevalent, Schrader’s fantasy noir production titled “Witch Hunt” for HBO offers numerous enjoyable surface aspects. Dennis Hopper delivers an impressive portrayal as the private investigator Harry Philip Lovecraft, a character name that’s a wink to fans. The dialogue, filled with magic-themed puns, and the brilliant score by Angelo Badalamenti make the movie a relaxing watch from start to finish. Regrettably, the generic plot involving detective Lovecraft clearing actress Kim Hudson (Penelope Ann Miller) of her husband’s murder, which she allegedly carried out with magic, keeps the narrative mostly within familiar territory. Despite every actor immersing themselves in the film’s fantastical world, “Witch Hunt” disappoints as it frequently slips into a self-parody, unintentionally drawing everyone, including the cast, into a quasi spoof despite their best efforts. At least, it’s worth watching for Eric Bogosian’s portrayal of a McCarthy-like senator and a brief appearance of himself during his fiery one-man shows.

22.
Touch (1997)

Elmore Leonard’s humorous crime tales often make excellent material for movies, and many of them, such as “Out of Sight,” “Jackie Brown,” and the TV series “Justified,” are justifiably praised. Unfortunately, Paul Schrader’s adaptation of Leonard’s novel “Touch” never takes flight, despite having all the ingredients for a enjoyable experience – an energetic setting, a talented cast, some witty humor, and a quirky religious narrative that aligns with Schrader’s recurring themes. Similar to “Forever Mine“, “Touch” centers around a romance between a character with the ability to heal (Skeet Ulrich) and an aimless record-company assistant (Bridget Fonda). However, their lackluster chemistry leaves a significant void in the film’s core. The rest of the eclectic cast (Christopher Walken, Janeane Garofalo, Gina Gershon, and a particularly loud Tom Arnold) strive to bring fun to “Touch‘s” outdated media satire, but the movie never manages to be anything more than forgettable. However, “Touch” merits some recognition for an engaging opening scene and an unusual performance by Paul Mazursky as a sleazy, vulgar record executive.

21.
Dying of the Light (2014)

Approximately one or two months prior to the theatrical/VOD release of “Dying of the Light“, director Schrader publicly declared on Facebook that the studio had taken the film from him and significantly altered it without his consent. Later, Schrader and the film’s stars, Nicolas Cage and the late Anton Yelchin, openly distanced themselves from “Dying of the Light“, vehemently asserting it was not the movie they intended to make. Regrettably, Schrader’s original version is unlikely to be released (although he covertly edited the film using work print DVDs into a new feature titled “Dark” as demonstrated in his MasterClass lecture), but what remains is an acceptable espionage thriller showcasing a fairly engaging performance by Cage. It’s evident that traces of Schrader’s original concept are present, particularly when the film concentrates on the deteriorating mental state of Cage’s tormented, revenge-seeking CIA agent. However, the movie largely lacks Schrader’s distinctive style, and while his original “Dying of the Light” might not have been a legendary masterpiece, it would at least have been a Paul Schrader film. Instead, we are left with an uninspired exercise in worldwide suspense, including forgettable chase sequences, unengaging storytelling, and predictable xenophobia.

20.
Dominion: Prequel to the Exorcist (2005)

In a departure from the norm for the iconic horror series, Schrader intended to underscore its religious basis and avoid conventional jump scares, an approach that initially alarmed Morgan Creek Productions due to concerns about its box office potential. When the studio brought in Renny Harlin to rework and reshoot a more standard film, resulting in a commercial flop, they invited Schrader back to finish his version as a means of recuperating their combined investment. The outcome is a subdued yet intriguing portrayal of a former priest-turned-archaeologist (Stellan Skarsgård, impressive) who unearths a possessed child during an excavation in the Turkana region of British Kenya. Despite being somewhat slow and hindered by a few lackluster performances, it’s commendable that Schrader tackles the concept of evil as something created by humans, while hinting at supernatural undertones throughout. Dominion: Prequel to the Exorcist is far more contemplative than a typical prequel or fifth installment in a franchise should be.

19.
Dog Eat Dog (2016)

In simpler terms, Paul Schrader’s film “Dog Eat Dog” stands out as an unusual addition to his work, offering a fast-paced, sickeningly captivating crime story about three ex-convicts (Nicolas Cage, Willem Dafoe, and Christopher Matthew Cook). Their task is to kidnap a baby for ransom, but things go terribly wrong from the start. If you’re not prepared to handle some very dark, black comedy (the opening scene shows the brutal murder of a mother and daughter, played somewhat comically), then “Dog Eat Dog” might not be for you. The film also contains questionable elements, such as casual racist remarks that don’t contribute much. However, Schrader’s vibrant, drug-fueled visual style keeps things interesting throughout. Willem Dafoe delivers a chilling, yet emotionally resonant supporting performance, using therapy language for his own twisted purposes. By the end, when Nicolas Cage starts reading his lines in a comical Bogart impression, “Dog Eat Dog” becomes somewhat comprehensible in its twisted way.

18.
Adam Resurrected (2008)

In this rephrased version, the 1968 novel “Yoram Kaniuk’s” adaptation by Schrader focuses on Adam Stein (Jeff Goldblum), an engaging Holocaust survivor living in a fictional Israeli asylum designed for treating survivors’ guilt. Prior to WWII, Stein was a clown at the circus in Berlin, and when the SS detained him and his family, a cruel officer (Willem Dafoe) recognized him from his act and made him perform like a dog to survive. The film Adam Resurrected earns recognition for handling its absurd central premise seriously, exploring the struggles of good men who blame themselves for perceived failures. Despite Goldblum’s occasional questionable accent, his performance, which blends elements of Cuckoo’s Nest‘s McMurphy and M.A.S.H.‘s Hawkeye, keeps the movie engaging, even when it veers off course. Despite its attempts to tackle profound philosophical and theological questions, the film’s overly neat ending falls flat. However, Schrader’s attempt to bring an allegedly unadaptable book to life is commendable.

17.
Oh, Canada (2024)

In this rephrased version, the character Leonard Fife, portrayed by Richard Gere, is battling cancer and his mind is no longer linear due to his impending death. Instead of following a single narrative, it hops between his past filled with indiscretions and personal shortcomings – some true, others fabricated – at a time when he yearns to confess his wrongdoings. When Fife, a renowned documentarian who avoided the draft by seeking refuge in Canada, settles for a final interview with the intent of being truthful to the public, his mind deceives him, and it swiftly veers off course. The film adaptation of Russell Banks’ novel Foregone, directed by Schrader, positions viewers in an unstable perspective that’s rapidly deteriorating; it mirrors a life flashing before one’s eyes, with acts of nobility conflicting against petty, inexplicable cruelty. The outcome is a blend: At times, the fragmented structure and obscure visuals indicate a fractured life unable to unite, while at others, it merely appears disjointed. Despite this, in his second collaboration with Gere (the first in 44 years), Schrader offers the actor another chance to showcase his natural charm as a tool for deception. Fife is almost the antithesis of the suave escort from American Gigolo, yet Gere positions them on a spectrum of internal and external deceit. Ultimately, we are who we claim to be, but we’re also what we conceal.

16.
Auto Focus (2002)

In the biopic “Auto Focus,” directed by Paul Schrader, Greg Kinnear portrays Bob Crane, a star of “Hogan’s Heroes” who was also a sexual deviant whose murder remains unsolved. The film struggles to balance its depiction of Crane as an addict and a sinner, making the narrative somewhat confusing by the end. However, Kinnear delivers a career-best performance as Crane, and watching him manipulate his charming exterior for unsettling purposes creates a unique viewing experience. Willem Dafoe, playing Crane’s party companion and potential murderer, has less screen time but still shines when given the chance to show off. The film also offers an intriguing perspective on 1960s and 1970s Hollywood culture, though its sensational aspects may eventually lose their appeal.

15.
The Walker (2007)

The film “The Walker,” immersed in the politics of the Bush era, delves into another one of Schrader’s recurring themes – the solitary male character. This time it’s Carter Page III (Woody Harrelson, adopting a chilling Southern accent), a middle-aged gay man who accompanies powerful women to social events in Washington D.C. After being suspected of a murder following his client/friend’s (Kristin Scott Thomas) discovery of her lobbyist lover’s deceased body, Schrader focuses less on the mystery and more on Page’s deteriorating mental health, shielded by the shallow veneer he must maintain to fit in. Initially conceived as a follow-up to “American Gigolo,” “The Walker” mirrors many elements of Schrader’s early successes, albeit with a more pronounced queer undercurrent reflecting the protagonist’s sense of estrangement and entrapment by his profession. However, the film falters in its attempts to resolve plot threads and can feel overly rigid due to an uncharacteristic severity, yet it remains a captivating exploration of a man who uncovers loyalty amidst a town of betrayers.

14.
The Card Counter (2021)

Four years after the release of “First Reformed”, Paul Schrader’s film “The Card Counter” delves once more into the exploration of contemporary atrocities through the lens of a solitary man, this time portrayed by Oscar Isaac as a former soldier skilled in enhanced interrogation methods. In an attempt to escape the Abu Ghraib scandal’s shadow, he takes up card-counting at casinos across the nation. A fateful encounter with the son of another implicated soldier hints at redemption, yet unresolved bitterness and the lack of justice continually push salvation out of grasp. Schrader reaffirms his recurring themes and artistic inclinations – including Bressonian aesthetics, Dostoyevskian spiritual odysseys, and a poignant social consciousness – without “The Card Counter” feeling like a mere repetition of past concepts. Instead, it serves as a platform for Schrader to delve deeper into the nation’s unaddressed apprehensions. Isaac’s compelling portrayal of torment adds depth to the film’s sometimes sparse script and validates the moral weight that his character bears in every scene. While Schrader has filmed numerous tributes to “Pickpocket”‘s ending, the final image of “The Card Counter” – two fingers divided by glass but emotionally connected – unearths new layers of emotional release.

13.
The Canyons (2013)

Viewing The Canyons outside its original release drama, which was marked by a turbulent production detailed in a notorious New York Times Magazine article and gossip columns about Lindsay Lohan’s struggles with addiction, reveals a unique exploration of narcissism in our celebrity-centric society. With time, the film has become an intriguing portrayal of shallowness, though it may falter occasionally. Bret Easton Ellis’s screenplay is filled with soft-core nudity and erotic scenes, but it’s Paul Schrader’s mesmerizing direction and John DeFazio’s dreamy digital cinematography that truly elevate the material beyond its surface level. Lohan and James Deen make a compelling onscreen pairing, embodying the glamorous-gritty essence of Los Angeles, and their performances are better than commonly perceived based on contemporary reviews. However, a shallow portrayal of superficial characters can only sustain interest for so long, and The Canyons does become tiresome by the time Deen performs the expected act of violence. Despite this, The Canyons is neither a disastrous flop nor an unsung classic. Instead, it’s a fascinating enigma due to its subtext often overshadowing its main narrative.

12.
Master Gardener (2022)

The impact of provocations wanes when they are solely designed to evoke shock and anger, but they become profound when supported by genuine inquiry. The film “Master Gardener” unfolds the blossoming romance between horticulturist Narvel Roth (Joel Edgerton) – a former white supremacist with a checkered past – and his apprentice Maya (Quintessa Swindell). After turning informant, Narvel finds refuge in the world of nature, seeking redemption by giving back to the earth. However, reminders of his past are ever-present; tattoos marking his white supremacist beliefs adorn his body, and his employer, Mrs. Haverhill (Sigourney Weaver), exploits her knowledge of Narvel’s history as a source of intrigue in their intimate encounters.

Narvel finds solace and the opportunity for redemption through his bond with Maya. He helps her navigate past struggles, shares his passion for gardening, and strives to make amends for his wrongdoings. Director Schrader skillfully avoids using the provocative premise of a former white supremacist finding redemption as a means to provoke liberal sensitivities or offend the audience. Instead, every aspect of “Master Gardener” is driven by an honest, authentic perspective that love has the power to mend all wounds and that no one, regardless of their past, is beyond salvation.

11.
Affliction (1997)

In a captivating portrayal, Nolte embodies the troubled small-town policeman Wade Whitehouse, whose tenuous mental state spirals out of control when he becomes convinced that a hunting accident involving an affluent outsider is part of a broader conspiracy. Drawing inspiration from Russell Banks’ 1989 novel, Schrader skillfully confines the narrative to Wade’s perspective, creating a chilling effect as his sanity gradually deteriorates and slips into dangerous territory before the audience’s eyes. Enhanced by Paul Sarossy’s haunting cinematography (often collaborating with Atom Egoyan) and powerful supporting performances from Sissy Spacek as Wade’s beleaguered girlfriend and James Coburn, who won an Oscar for his portrayal of Wade’s violent, alcoholic father, Affliction showcases Schrader at his most somber. The final act, during which Wade’s life and that of his family disintegrate, is as emotionally wrenching as anything in his filmography, despite its recurring themes of despair. As Rolfe, Wade’s brother who serves as the film’s narrator, poignantly remarks, “You cannot fathom how a man, an ordinary man like you and me, could commit such heinous acts.

10.
Cat People (1982)

A captivatingly tacky erotic thriller that borrows loosely from Jacques Tourneur and Val Lewton’s 1942 horror film “Cat People”, this film titled the same follows Irena Gallier (Nastassja Kinski) as she experiences a passionate sexual transformation in New Orleans. As she discovers her desires, she finds herself morphing into a black leopard, placing both her and her new zoologist lover (John Heard) in danger. Director Paul Schrader infuses the film with engaging, sultry grime, creating an unsettling yet seductive atmosphere throughout. The storyline may be cheesy and predictable, but Schrader’s vision transcends this, offering merely surface-level enjoyment. Kinski skillfully maintains a straight face despite her character making bizarre, fantastical actions, whereas Malcolm McDowell as Irena’s predatory brother struggles to do the same. Despite Giorgio Moroder’s pulsating soundtrack and David Bowie’s unforgettable theme song being key elements of its lasting appeal, “Cat People” offers much more than just its music.

9.
Hardcore (1979)

In a striking depiction, does the scene where Jake Van Dorn (George C. Scott), a rigid Calvinist businessman from Michigan, burst into tears of anger upon discovering his missing honorable daughter has resurfaced in an adult film, resonate more profoundly with Paul Schrader’s signature imagery in the movie “Hardcore”? This film, Schrader’s second feature, serves to introduce and further develop several key themes that would become recurrent in his work: a protagonist thrust into a questionable subculture, a morally upright individual grappling with maintaining integrity in unfamiliar surroundings, a voyeuristic style reflecting characters’ unsettling subconscious desires, a climactic act of violence offering catharsis and potential redemption. Scott masterfully portrays a range of emotions from bewilderment to simmering rage as he navigates the seedy underbelly of California in search of his daughter. However, it is the profound sense of shame that overwhelms him by the film’s end that leaves an indelible impact. Schrader’s distinctive gritty style is evident throughout, but he also satirizes (a) the casual objectification within the sex industry and (b) his New Hollywood contemporaries, as when a porn producer admires a new director on the scene, his partner mentions he graduated from UCLA.

8.
Light of Day (1987)

In the eyes of director Schrader, the film “Light of Day,” which blends midwestern rock-and-roll with religious melodrama, is one of his lesser-known masterpieces. Michael J. Fox and Joan Jett portray Joe and Patti, a sibling band in a Cleveland bar; Patti’s devotion to rock music conflicts with Joe’s desire for stability, as he frets about Patti’s young son. Their disapproving religious mother (Gena Rowlands) looms over the family, her displeasure intensifying when she falls ill. Despite being visually unremarkable, “Light of Day” offers a heartfelt depiction of ordinary people whose artistic aspirations exceed their capabilities and circumstances. Fox delivers standout performances as the family’s mediator, while gracefully stepping back to let Jett and Rowlands shine. The film also boasts a memorable title track penned by Bruce Springsteen, continuing Schrader’s pattern of examining characters whose turbulent pasts keep them in a state of dissatisfaction, this time through the lens of music.

7.
American Gigolo (1980)

American Gigolo introduced the world to two significant elements: Richard Gere as a globally recognized sex symbol and the chic fashion of Giorgio Armani. Drawing inspiration from Robert Bresson’s film, Pickpocket, Schrader delights in both the objectification of his male protagonist (played by Gere) who willingly submits to this treatment, and the aesthetics of his surroundings. The gigolo’s wardrobe, stereo, artwork, and luxurious apartment are meticulously captured, serving as symbols of wealth one must pay dearly for. However, Schrader focuses more on the psychological exploration of the character rather than the murder plot, which somewhat weakens the story when it escalates. Despite its simplistic narrative, Gigolo thrives as a character study of a man who offers pleasure, whose kindness conceals a shallow sense of loneliness. Gere convincingly portrays his character’s transformation from desirable man to unemployed escort after being abandoned by his high-end clients.

6.
The Comfort of Strangers (1990)

In the cinematic works of Schrader, the movie “The Comfort of Strangers” stands out as a unique literary piece. This film tells the story of a British couple (portrayed by Natasha Richardson and Rupert Everett) seeking to revive their relationship during a Venetian holiday. However, they find themselves ensnared by another duo (Christopher Walken and Helen Mirren), who aim to manipulate them for their twisted purposes. The script carries the signature style of Harold Pinter, adding his distinct flavor to Ian McEwan’s original short novel. Yet, Schrader imbues the film with his own chilling sensuality, making it both seductive and unsettling at once. This collaboration between McEwan, Pinter, and Schrader is an unusual blend of creative voices in the realm of filmmaking. As a result, “The Comfort of Strangers” is undeniably peculiar, offering a polished facade before delving into psychological power struggles. By the finale, it’s clear that this film can be attributed to no other director than Schrader.

5.
Patty Hearst (1988)

The kidnapping, confinement, and mind control of Patty Hearst by the Symbionese Liberation Army is a peculiar and intriguing chapter in American history, dealing a significant blow to the self-proclaimed guerrilla group that ultimately marked their downfall. In his unsettling film adaption of Hearst’s autobiography, Schrader avoids sensationalizing her ordeal, instead focusing on conveying her limited point of view. Due to budget constraints, Schrader made certain stylistic decisions that greatly enhance the movie’s eerie ambiance, such as filming much of the first half from a dimly lit closet, and later opening up the world to reveal the radicals, once threatening in the shadows, as confused and quarreling youth. The film is both unsettling (the SLA inviting Patty to be raped under the pretense of shared love) and darkly humorous (William Forsythe’s Teko loudly lamenting that he wasn’t born black because he would never understand the struggles of the oppressed). Overall, Patty Hearst is a powerful portrayal of how detachment leads to indoctrination. Natasha Richardson’s chilling, emotionless performance anchors the film; it’s only at the end, after she’s been through hell and back, that she reclaims her independence.

4.
Mishima: A Life in Four Chapters (1985)

A Life in Four Chapters” could be:

This captivating biographical film, titled “Mishima: A Life in Four Chapters“, skillfully portrays the life and works of a prominent Japanese author without simplifying them to a predictable rise-and-fall storyline. Director Paul Schrader opted for a collage-like approach rather than a straightforward narrative, seamlessly transitioning between fragmented biography and brief adaptations of three novels, demonstrating their ongoing dialogue. Ken Ogata’s portrayal of Yukio Mishima captures the author as a complex individual driven by his internal conflicts, resisting any attempts to define him as a sum of parts. Instead, he emphasizes the character’s mysterious ambiguity. The film features Philip Glass’s beautiful music score, inviting viewers to ponder the similarities between Mishima’s turbulent life and art. However, it never forces connections; instead, it encourages viewers to discern the relationships between reality and fiction on their own. This uncompromising portrayal also serves as a moving tribute to the author.

3.
Light Sleeper (1992)

As a cinephile, I found “Light Sleeper” by Schrader to be one of his most compelling “man-in-a-room” films. Willem Dafoe delivers an emotionally charged performance as John LeTour, a weary New York drug dealer who spends his nights delivering drugs to high-end clients and jotting down thoughts in his journal. An encounter with an old flame (Dana Delany) stirs him from his trance-like existence, prompting him to seek a new beginning. However, his line of work and past transgressions relentlessly pursue him, leading to heartbreaking consequences.

Though the narrative may seem familiar, Schrader’s episodic script and dreamy ambiance lend “Light Sleeper” an unsettling rhythm that hovers on the edge of disorder. The filmmaker infuses a poignant sense of exhaustion into the movie, suggesting that better days are long past, and all one can hope for is a measure of inner tranquility. Supporting roles by Susan Sarandon and Jane Adams further enrich this portrayal of Schrader’s philosophical outlook on life, making “Light Sleeper” one of his most successful expressions of transcendentalism among his feature films.

2.
Blue Collar (1978)

In the vein of true-life disenchantment narratives, Schrader’s groundbreaking directorial debut boldly tackles the numerous wrongdoings of capitalism through a somber yet witty narrative about three economically struggling auto workers (played by Harvey Keitel, Yaphet Kotto, and Richard Pryor in an underrated dramatic portrayal). These men decide to rob their union headquarters and uncover proof of an illegal loan scheme linked to the Mafia. As they strategize their next steps, their corrupt union attempts to silence them by pushing them into dead-end situations. Masterfully crafted and richly layered, Blue Collar is one of the finest American films addressing class and racial issues, revealing how employers manipulate worker divisions to prevent them from ever advancing beyond their station. The most poignant irony in Blue Collar lies in the fact that these friends, eager to challenge The System, remain blissfully unaware that they are mere pieces in a game whose rules have been predetermined. Each action they take only drives them closer to their graves, both figuratively and literally. It’s a testament to Schrader’s skill as a filmmaker that such a gloomy movie can still showcase Keitel and Pryor engaging in mock combat with dildos.

1.
First Reformed (2018)

First Reformed, a culmination of Schrader’s four-decade filmmaking journey, skillfully weaves together his recurring themes into a profound narrative about a solitary priest (Ethan Hawke in an exceptional performance) who assumes the self-imposed martyrdom of a disillusioned environmentalist as his small church prepares for its 250th anniversary. This somber portrayal of a man on the brink, grappling with his deteriorating physical and mental health while confronting an indifferent world, marks Schrader’s most mature work to date. Influenced by various mid-century European directors (Bresson, Dreyer, Ozu, and Tarkovsky), the film eventually fuses these styles into a unique aesthetic that is distinctively Schrader’s own. Despite its bleak depiction of America as its 20th-century grandeur fades, Schrader does not abandon hope. As First Reformed reaches its dramatic conclusion, he offers redemption through a pregnant parishioner (Amanda Seyfried) who seeks guidance on navigating life after an unexpected tragedy. This film is not only the standout of the year thus far, but also Schrader’s most impressive directorial endeavor to date.

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2025-01-22 00:55