First Reformed

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.

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.

One not to miss. The priest personifies the world's intense conflicts between the unstoppable forces of destruction (our planet, our relationships, the consequences of the Iraq war, the brutality of corporate polluters, slavery, churches more attuned to materialism than spirituality) and the receding forces of gentleness, compassion, prayers. This isn't a religious movie, though profoundly spiritual. It reminded me of Dostoyevsky, Camus and the anguish of existing in a universe so corrupted that even the thought of bringing a child seems like a sin to his father. Both Ethan Hawke and Amanda Seyfried are amazing to watch. And my admiration to Paul Schrader..

Some objectively good movies also make you feel good while watching them. Others crush you with weighty material, penetrating emotions and powerhouse performances. 'First Reformed' falls into the second category.

Legendary writer-director Paul Schrader returns to his past glorious form with this film. Some 40 years after writing 'Taxi Driver', he unleashes another portrait of a man experiencing a deep existential crisis as he sinks further into despair because of what he perceives to be a failing humanity.

Our new Travis Bickle is Reverend Ernst Toller (Ethan Hawke, in an Oscar-worthy performance). Toller runs a small church in New York state called First Reformed, which has a dwindling congregation of merely a dozen. Nearby, First Reformed's parent church, which has a following of thousands, is headed by Reverend Jeffers (Cedric the Entertainer). Toller and Jeffers clash over their ways to best perform the Lord's work. Toller rejects all physical possessions and scoffs at the financial success of the parent church, while Jeffers futilely attempts to convince Toller that wealth and religious commitment are not mutually exclusive.

Toller is not a well man. He struggles to take joy in any aspect of life. His past haunts him, as do the present failures of humanity. His despair becomes increasingly clear with each passing day that he writes in his diary, which was intended to be a form of prayer and offer clarity but instead only serves as a vehicle for him to psychologically self-punish. As his mental health suffers, so does his physical state. He's sick, probably dying, but he guzzles hard liquor daily despite the stomach pain it causes. Perhaps this too is self-punishment.

As Toller struggles to find a purpose for his remaining time on Earth, one appears before him when a pregnant parishioner, Mary (a career-best Amanda Seyfried), asks him to counsel her suicidal husband. Toller agrees, but the conversations don't lead to any relief for either party. Toller believes he finds a purpose, but anyone of sound mind would hardly consider it a Godly cause.

This all builds to a climactic scene that will leave some viewers in breathless awe and others in maddening disbelief. I took the final moments as a welcome relief after a punishing first 105 minutes, but some may see the abrupt pivot in tone as off putting. In any case, it's certainly spiritual trip and one that will stick with you long after the credits roll.

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