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First Reformed

Country: australia, united_kingdom, united_states

Year: 2018

Running time: 113

IMDB: https://www.imdb.com/title/tt6053438/reference

Chris says: “I believe any work of art has the potential to be both ridiculous and sublime, however rarely one achieves such a tricky balance is. To its credit, FIRST REFORMED is often firmly the latter—the austere opening credits sequence with its extended zoom-in; the simple, profound economy of the editing; tonally, how the dread keeps building, almost becoming constrictive but not altogether suffocating; and of course, Ethan Hawke, perennially underrated as he ages but arguably never better in a role he nearly disappears into.

The ridiculous stuff comes at the hysterical finale, but it’s to be taken seriously because it’s not silly and not played for camp or irony (just as the last fifteen minutes of TAXI DRIVER were outrageous and totally plausible.) The score gets to be a little much in the last third, but the straight-faced hymn accompanying those final minutes is perfect. Themes of climate control and corporate influence place the film firmly in the here and now, but otherwise, it feels as timeless as the work of director Paul Schrader’s old hero Carl Dreyer.  4.5 cats

 

Brett responds: “I agree with Chris’s comments about the film, the positives and the criticisms. I started to write one of my own, but I found I mentioned steady tone more than once and praised the stripped-down effect of its steady climb. It is, however, for the reasons in the second paragraph of his review that I would not come even close to a 5-cat rating. The fact that one has to explain that it’s not camp toward the end speaks volumes to how disjointed and messy it becomes. I will also say that no matter the politics at play in any movie, when it becomes as preachy and all-in as it does in this film, it just becomes an eyeroll, even if it’s something I might share value in. To me, it trashed all the effort in the first 4/5 of the film just to get across a desperate high-five to environmentalists. It’s a movie that abandons all the subtleties and build that it established. The classic two-plot formula of tying in a romantic interest could been easily avoided, but it is so telegraphed from the get-go that I had to question out loud if the film-makers were serious in actually going for it. I can take the final scene as a metaphor, much like the surreal body-bonding sequence that precedes, but I would’ve appreciated a much less telegraphed moment, whether meant to be metaphorical or literal.

“When I consider awards season, it’s a competition and I think “best of the best.” While some underrepresented films like this get nods, I find it fair to pat those films on the back, sure, but to mention FIRST REFORMED and a few others in the same breath as ROMA and SHOPLIFTERS and the like, I just can’t help but shake my head, as I fail to see any comparisons in their level of greatness. I enjoyed the effort, and would give it a very generous 3 cat-out -of-5 handshake, but it just falls well short of awards-worthy in any particular category for me. For instance, the production design of this film versus production design of BALLAD OF BUSTER SCRUGGS? Forget whether or not one liked the SCRUGGS movie, I just don’t see how it’s even in the same league of achievement there from a technical standpoint. Ethan Hawke is certainly good in the film, but to say it’s on par with Timothée Chalamet or Willem Dafoe this year as a year’s best performance, I just can’t see it.”

 

Pete responds: “I concur with Brett.  The spare start for First Reformed devolved into the operatic and preposterous final act.  It was as if Robert Bresson took on the mask of Ken Russell.  To say that First Reformed went off the rails is an understatement.  I hope that members will not succumb to the strange drumbeat that supports this film.  That Schrader did admirable, unrecognized work in the past is not reason to   honor this effort.”

 

Toni responds: “I think if folks can see the film itself they can be the judge on whether they think it went off of the rails or whether it moved them. As a ‘strange drumbeat that supports this film’, I think that film is subjective and after remembering this film from earlier in the year, I just wanted to share it was available digitally now.

“I have enjoyed some of Paul Schrader’s prior work like AFFLICTION but I liked the film regardless of his prior work and found it moving personally and philosophically. I don’t expect all members to agree here but I also don’t like this nasty sentiment after sharing that a film is digitally available that I and some others enjoyed.
“I personally liked the locations chosen and the color schemes in the Production Design of FIRST REFORMED enough to interview the PD, Grace Yun, on it for Spoiler Alert Radio. She has worked with smaller budgets like on BEACH RATS for example and she also worked on medium budgets like for HEREDITARY.
“For those interested, you can listen to an archive of the episode here to appreciate the work she has done in independent film.”

 

Thom says: “Paul Schrader has had a fascinating career as a director & scriptwriter and it pleases me to no end that he has returned to top form here. Kudos to reviewers who have already praised this gem. It turns out I’m somewhat of a Schrader buff. I’ve seen every single one of his feature films and he even scored a FILM-OF-THE-YEAR in 1985 with the stunning MISHIMA: A LIFE IN 4 CHAPTERS. His other top-rated films are AMERICAN GIGILO, PATTY HEARST, THE COMFORT OF STRANGERS, LIGHT SLEEPER, AUTO FOCUS, & AFFLICTION. His other films are HARDCORE, BLUE COLLAR, CAT PEOPLE, LIGHT OF DAY, TOUCH, FOREVER MINE, DOMINION, THE WALKER, ADAM RESURRECTED, THE CANYONS, DYING OF THE LIGHT, & DOG EAT DOG. Perhaps better known for the his screenwriting ability he wrote the screenplays for RAGING BULL, TAXI DRIVER, THE LAST TEMPTATION OF CHRIST, THE MOSQUITO COAST, THE YAKUZA & many others. But since 2002’s AUTO FOCUS his films have been mediocre, if not deplorable, so this film rocked my world. Ethan Hawke excels as the reverend (Toller) of an upstate New York First Reformed church who is slowly losing his faith, if not his mind. His church is somewhat of a tourist attraction as it was a stop on the Underground Railroad for slaves escaping to Canada, although he appears to have a small congregation. Both his wife and child have passed and while a parishioner (Esther) is all over him like a cheap suit, he has zilch interest in her (although a hook-up had occurred). After a Sunday service a young woman approaches him and asks him to council her distraught husband (Michael), an environmental activist who recently was released from jail for a minor crime. His wife, Mary, is recently pregnant and he feels the world is so horrible that no one has the right to bring a child into the certain imminent apocalypse. Toller talks to Michael but even after hours of intensive conversation Toller realizes he’s not convincing the disconsolate fellow. While he continues to schedule sessions with Michael he also befriends Mary after she discovers a suicide-bomb vest that Michael has made. He takes it from Mary and promises to dismantle it. With what finally happens to Michael starts Toller down the dark road of despair and loss of faith. While all this is going on the 250th anniversary celebration of the church opening is being planned, discussed, and itemized by the local religious and money interests. One of the greatest scenes in recent film history is when Toller lies on the floor with Mary on top of him, staring into his eyes (get your mind out of the gutter) and they ascend into a renaissance that is both beautiful and inspirational. As Toller spins more and more out of control the films works its magical crescendo into an ending with unerring brilliance and majestic splendor. I’m in awe of the final scene with Esther singing in the chapel off-set to assuage the late entrance of Toller, and the song she sings is the same one that the psychotic Robert Mitchum sang in the classic NIGHT OF THE HUNTER. I’m not at all religious but my lack of faith did nothing to keep me from loving this movie. I love the fact that Schrader was brought up in a strict Calvinist family and he was not allowed to see a film before he was 18. 5 cats

 

Diane responds: “The most hilarious part of that story is that it didn’t occur to me either but my brother Chuk who’s not nearly the film fan I am came out of his shell to announce, ‘Hey, that’s the song from NIGHT OF THE HUNTER.'”

 

Julie says: “I like your review of the film. While I do agree with Chris that the 1 hysterical scene was just not right and messed up the movie for me just a bit, overall it was worth a watch and quite apropos for these times as well. I saw it back to back with Dark Money which was an interesting coincidence. I loved the song at the end which I think we all agree to and the scene where she lies on top of him is really neat and unexpected. Ethan Hawke puts in a fine performance. Very different from JULIET NAKED showing his ability to easily transform into different characters. I think he was in a third movie as well this year. 4 cats

First Reformed

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