“For Paul Schrader, First Reformed’s visual style realizes ideas of transcendental style that he first theorized at the beginning of his career. But that style only works because it serves the story and character he crafted so carefully.”
“The power of ‘First Reformed’ is rooted in Schrader’s ability to take a number of clear forbearers — Bresson, Dreyer, Pialat — and twist them into a style that feels wholly unique and rooted in a personal set of values and obsessions.”
“Uchoa and Dumans’ distanced, matter-of-fact portrayal of their vagabond renders ‘Araby’ an elusive and open film. It’s particulars aren’t always announced, because — as with Bresson — the text ask viewers to meet it where it stands.”
Michael J. Casey on Paul Schrader’s thematic links in ‘Taxi Driver,’ ‘Mishima: A Life in Four Chapters’ and ‘First Reformed’
“The multi-hyphenate filmmaker’s latest seems to anticipate dissection: its formal austerity belies a haphazard, literary-minded indulgence.”
