Manhattan. Visually, Schrader shoots for extreme asceticism, with casino floors made to resemble the gun-metal austerity of a prison rec room. It’s a supremely compelling tale leavened by its wry humour and a subtle commentary on the essential emptiness of American life. Lots of great stuff here, but this is first and foremost the Oscar Isaac show. A crackerjack finale leads to the film’s bittersweet final shot, which references Michelangelo’s Sistine Chapel fresco ‘The Creation of Adam’ and encapsulates so much about Schrader’s cinema, in everything from way back to the days of Taxi Driver. That is until he wanders into a security conference and sits in on a presentation delivered by retired Major John Gordo (Willem Dafoe), an old acquaintance from his past. Share this
Paul Schrader continues his God’s Lonely Man project with Oscar Isaac in-tow as a tormented professional poker player.Here are the rules for The Card Counter drinking game: when you see a character take a drink in the film, you have to match them. The fingers almost connect, but they never do. Tye Sheridan’s schlubby twentysomething Cirk with a “C” (aka The Kid) recognises William and passes him his deets. And that’s just how William likes it – no muss, no fuss, in, out and on to the next one. Tiffany Haddish turns in a fine performance as a svelte circuit regular, and draws out an unlikely strain of poignancy from the otherwise samurai- focused Bill. As with most of Schrader’s work – but specifically his excellent 2017 film First Reformed – the French formalist filmmaker Robert Bresson is a key influence, mainly in the puritanical rigour of the storytelling and the performances, but also in how it grapples with the mystifying and contradictory aspects of morality. Published 2 Nov 2021
Share this Enjoyment. He now seems to want to emulate the claustrophobic experience of incarceration on the outside: turning every day into a droningly monotonous trip from one tinpot casino to the next where he keeps his head down, bets small, wins small and is able to keep himself to himself. The most “you do you” film this spiritually cynical writer/director could make. The Card Counter
Review by David Jenkins
Anticipation. Paul Schrader’s follow-up to one of his best films in years, First Reformed. Soda water. Double Jack Daniels. Beer. It emulates the experience of watching Paul Schrader’s rollocking new spin on his God’s Lonely Man project, this time focusing on Bill Tillich (aka William Tell), played by Oscar Isaac (easily his best performance since Inside Llewyn Davis), a man with a past who just likes to wrap his table lamps in bed sheets and play a bit of poker. Turns out he’s got crosshairs trained on Gordo and needs some extra capital to achieve a fantasy kill. Tom Collins with Tanqueray. In Retrospect. First you get that buzz which turns to mild euphoria, then the nasties kick in and the sickness starts to rise. It’s that idea of transcendence and purity remaining just out of reach. Indeed, the only truly successful characters in the film are one of William’s regular poker opponents, a Ukrainian man styled as Mr USA who, along with a pair of lackeys, chants, “U-S-A! Double Johnnie Walker. U-S-A!” everywhere he’s seen. With his slicked back hair, omnipresent donkey jacket, khaki-green slacks and oversized Ray-Bans, he’s a Melvillian ex-con who ended up enjoying his time in chokey where he caught up on his Marcus Aurelius and taught himself to count cards.