First Reformed

Apparently, I am the oldest person commenting on this extraordinary film to recognize that the plot, characters, and pacing can all be traced back to Ingmar Bergman's Winterlight, Yes, Paul Schrader has created a great new original film but we must recognize its sources and failure to do so leaves us withering. You will not have to see Ingmar Bergman's original to appreciate this film, but the fact that so much comes from that film makes it weird to me that no one has recognized it so far. Beautifully executed, gorgeously shot and accomplished acting all contribute to the effectiveness of this film. It may seem a little shallow to some, but it is very worthwhile.

My Rating : 7/10

If you like the great filmmakers of the black and white era such as Bresson and Bergman you will enjoy 'First Reformed' as you can see direct influences from Diary of a Country Priest and Winter Light here.

Made for the 2018 audience, it's a dark character study similar to what Schrader's done in Taxi Driver before. I enjoyed it for what it is and the overall slow-burning narrative.

I never expected to be so moved by "First Reformed", a small indie that tackles large themes such as climate change, mental health, and faith rather ferociously. Though it is a bit of a slow-burn at the start, it's impossible not to be drawn in by Ethan Hawke's magnetizing performance. He is masterful as Ernst Toller, a pastor who begins to unravel after an encounter a husband and wife who are environmental activists. The second half of the film is particularly strong, as Toller's polite and unassuming facade begins to crack, and writer/director Paul Schrader makes some daring filmmaking choices that add to the unpredictability of the film as it heads toward the climax. Though the ending has been controversial among audiences, I thought it was an incredibly bold, beautifully executed choice, and the final few minutes of the film have been seared into my mind. Regardless of how you respond to the ending, there is no doubt that this is a thought-provoking and important piece of art. A must-see.

First Reformed presents a true account of modern times. The protagonist, a relatively young priest, is faced with the dilemma of either following the word of Jesus or welcoming the economic benefits that being complacent with a polluting international company will bring to his church. The film is full of profound thoughts, which are very true about the aim of institutions, their core purpose and the difficulty in having a wisdom capable of balancing and believing in the coexistence of opposing values, at the same time. There is also a subtle critique about the "new age" or "new economy" philosophy of optimism and abundance, at all costs, as if belonging to such groups could provide the adept with a magic pill that relives from thinking about modern injustices and global challenges.

Paul Schrader's new drama "First Reformed" is a drama about a grieving reverend who is counseling a couple--the husband of which is a radical environmentalist. This is a talky, dialogue- driven, and unsettling thriller that makes you both empathize with its characters as well as send a chill down your spine at times.

The film's deeply intellectual and serious commentary on matters of religion and environmentalism is profound and thoughtful. This movie will likely not be suited for mainstream audiences desiring cheap entertainment, but serious viewers looking to be challenged in their thought processes will have much material to ponder during--and after--they view the movie. The acting is very strong, as Schrader commands his cast into giving low-key but quietly powerful and resonant performances. The standouts in the cast are Ethan Hawke's lead role as well as Amanda Seyfried and Cedric the Entertainer in the supporting cast. A gripping, dark (almost relentlessly so at times) tone keeps the viewer engrossed in the film. While this isn't a horror film (despite containing disturbing content and moments,) the film's simple score is incredibly chilling and gets under one's skin more than almost any other film's score I have witnessed in a long time.

My only complaints about this film are found in the third act. A dreamlike, surrealistic scene inspired by impressionism that involves the protagonist and Seyfried's character feels out of place given the grim tone deeply rooted in realism. Additionally, a quick and highly abrupt cut in the film's finale feels disappointing and almost like the equivalent of a 'cop-out' in film editing. It did not positively impact how I viewed the film's ending. But other than these concerns, this is a very well-made and serious drama designed to quietly shock audiences into a state of reflection on the world today as we know it. 8/10