The Card Counter: Another Solid Bressonian Thriller From Paul Schrader
Writer/director Paul Schrader returns with another solid Bressonian thriller that explores solitary men consumed by their occupation. Cool, confident, and calculated, but at times askew, The Card Counter is an exciting new riff on the familiar Paul Schrader tale full of his signature hallmarks and surprises. Bolstered by Oscar Isaac’s performance, Schrader’s bold style, and Robert Levon Been’s moody score, this compellingly mysterious revenge thriller takes you for a dark and twisted ride that only Schrader could cook up. Make no mistake, this is not your typical poker film.
Redemption is the long game in Paul Schrader's The Card Counter. Told with Schrader's trademark cinematic intensity, the revenge thriller tells the story of an ex-military interrogator turned gambler haunted by the ghosts of his past.
Light Sleeper meets Dog Eat Dog by way of First Reformed, The Card Counter is a mixed deck of everything Schrader, and while it’s not exactly a full house, it still proves to be a pretty winning hand for the veteran filmmaker who’s built a career out of narratives involving solitary men (or what Schrader refers to as his “a man sitting in a room” or “man at a table” films). This is a narrative that Schrader revisits once every decade (beginning with 1976’s Taxi Driver), but it’s not since 1980’s American Gigolo that we’ve seen him return so quickly to the themes that are undeniably his bread and butter.
In his latest exploration, you’ll find echoes of First Reformed, Light Sleeper (particularly in Robert Levon Been’s score, which itself echoes the equally atmospheric work his father laid down for that film), and Taxi Driver, but there’s a noticeable difference that sets Oscar Issac’s “William Tell” (a name he dubbed for himself) apart from the rest of Schrader’s solitary men. He’s looking for the same expiation that eat so many of Schrader’s solitary men alive, but he seems to have things more figured out. He’s calculated and actively trying to work out an answer, but he’s only focused on the things that are within his control.
The film centers around Isaac’s well-disciplined card shark, William Tell (whose name recalls both the legend and a poker term), and the two characters who give him and his lonely, meandering life purpose. There’s Tiffany Haddish’s La Linda, a gambling bankroller who proves to have a romantic connection with Tell, and Tye Sheridan’s Cirk (“Kirk with a ‘C’,” as he frequently says), a troubled young boy who’s torment is tangled up in Tell’s past as a military interrogator at Abu Ghraib. Imprisoned for the heinous acts of torture and abuse he committed at the Abu Graib prison, Tell finds reform behind bars. His 10 years in lock up gave him an affection for routine and a certain acceptance for the things he cannot change — oh, and ample time to learn how to count cards. After he’s released, Tell uses his newfound talent to pass the time as he drifts from lonely, unromantic casino to casino.
One of Tell’s motto’s is “bet small, win small.” He’s a man who smartly plays the odds, and he’s surprisingly willing to sprinkle unprovoked nuggets of sage casino wisdom in an attempt to help people shift the odds into their favor. That’s what he does with Cirk, who’s consumed with thoughts of revenge against the military contractor who taught his father (who died as a direct result of the torture he enacted) and Tell how to torture for the government. William takes Cirk under his wing as a means of seeking redemption, and he tries to shake the dark thoughts from the young man’s mind before they drive him to do idiotic things. Meanwhile, the connection he sparks with La Linda may be another chance at redemption that’s worth betting on.
As William weighs the odds, there comes a point in which he must choose whether to go all in or fold, and as Schrader slowly turns the cards on this twisted game of Texas hold ‘em, he presents us with an incendiary conclusion that collapses his measured house of cards in a wholly satisfying way. It’s not quite as explosive or deliciously surreal as First Reformed, but its final image is an affecting reimagining of the Bressonian ending Schrader’s oh so obsessively fond of, which gives the film a fittingly familiar close that perhaps lets us know that William has finally forgiving himself for his transgressions.
There are aspects to the script that aren’t Schrader’s strongest; there’s some spats of bad dialogue and wonky narrative beats, but its also sprinkled with many brilliant scenes and held together by Isaac’s captivating performance. Tiffany Haddish feels slightly out of place at times, but she exudes an understated charm that eventually wins you over. Tye Sheridan tries his best, but he feels miscast here and struggles with the dialogue, which leads to a few stilted line readings. Schrader’s style is far less restrained than First Reformed; it’s sleek and focused but not nearly as refined. His sequences depicting Abu Ghraib are bold and breathtaking. They have the kind of unhinged stylistic insanity that make film’s like Apocalypse Now so electrifying, and these sequences are worth the watch alone.
The more Schrader reveals his hand, the more compelling The Card Counter becomes. Although it takes a considerable amount of time for the hand to play out (which may test many viewers), there’s an immense joy in watching how Schrader ups the ante. By the time the river is turned, it’s damn near impossible to not be fully invested. The thrills may not come fast enough for those looking for the typical gambling film that seeks to win big, but the small bets Schrader place undeniably build up to something surprisingly large and profoundly beautiful (even if it’s a variant of something we’ve seen before).
Recommendation: If you’re a fan of Paul Schrader, The Card Counter is an absolute must watch. It’s got everything one could want from a Schrader film.
Rating: 4 journal entries outta 5.
Thirsty for more?! Check out the link below:
First Reformed review
Top Five: Paul Schrader Solitary Man Films
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