There is something terribly wrong with the world, and it is destroying us from the inside out.
Paul Schrader is one of the most interesting and talented auteurs since the 70s. Despite having a clear style, a prolific filmography, and a long record of great works over six decades, he somehow has missed out on the accolades and the financial success that many of his peers have experienced. First Reformed and a morbidly hilarious Facebook account have given him increased success and notoriety in the last chapter of his career. He’s also pretty close to being truly uncancelable so it should be smooth sailings from here on out for him to be remembered as one of the greats.
Still need to watch: Blue Collar (I know, I know. I’m on it.), Cat People, Light of Day, The Comfort of Strangers, Witch Hunt, The Walker, Dog Eat Dog
15. Adam Resurrected 
To be openly reductive for a moment, a basic outline for this movie reads like some WWII prestige drama shit designed to get Jeff Goldblum awards. Enter Paul Schrader in a rare (for him) director-for-hire situation. Now, I do not have any insight into what the process of the making of this film was like in any way, but that tension between prestige drama story and Paul Schrader ticks and tendencies was very real regardless. That can be the foundation for something interesting, but it never really got there. Instead, it just felt a mismatch.
14. Forever Mine 
“Everyone is the main character in their lives…they all have their story.”
On the surface, there are some things here of interest or at least that could have been interesting. At its core though, there was just no way Joseph Fiennes was the man to pull this role off. It simply requires him to have qualities of a sexual being that he in no way has ever been on the big or small screen. There is also a darkness to his character that he was never gonna be able to do let alone in conjunction with the pure sexuality. The margin for error with such a story was going always going to be so small, and Fiennes missed the mark WIDELY. (Ray Liotta’s talent was very clear though, as he had very little work with but managed to pop off the screen all the same.) Overall, this is a rare Schrader work that clearly feels like “pure Schrader” but is also not very good at all.
13. Dominion: Prequel to the Exorcist 
“You hate God…God gave you guilt.”
While very competently made and containing a few cool moments, overall this made very little impact on me. There really is just no real “hook” to this movie that makes it compelling enough to justify its existence. A rare Schrader film that feels utterly forgettable.
12. The Canyons 
This is the type of film that while yes, it’s not good, it is a very specific type of not good that can only come from the minds of talented people. There is a real “going for it” energy here. The margin of error on this film from the start was impossibly small and only kept getting smaller with the casting of the two leads. You kind of have to see this one to believe it. I recommend that one sees it on the big screen and then listen to Paul Schrader defend live and in person. Truly one of the best movie-going experiences of my life.
11. Touch 
Much of Paul Schrader’s work suggests he is a man who has given up on the idea of a better world. “Hope” in most traditional understandings is something he does not believe in. In some ways though, Touch feels like an optimistic film about the world (but cynical about people). Skeet Ulrich actually could perform miracles. He was not a con man. It was Christopher Walken – his would-be promoter – who was the charlatan. Sure, better things can happen. But there will always be those who seem to pervert and corrupt them. A better world may be possible, but the people of the world will always look to profit off of it instead of actually making things better. Touch feels inessential but an interesting chapter in Schrader’s career.
10. Dark [tbd?]
The story of this film is pretty fucking weird in that Dark is essentially the Paul Schrader version of a film he (and Nic Cage) have disavowed. Said film is Dying by Light which the studio released and refused Schrader the opportunity to edit to his vision. What we are left with here is a slick 70-minute film that is essentially all mood and Cage in pure distilled Cage form. It is pretty interesting, and you should watch it on archive.org. Hopefully, one day, we will be able to watch it on the big screen.
9. Patty Hearst 
While one could imagine why Paul Schrader would be drawn to the provocative subject of Patty Heart, it was not immediately obvious to me if he would be a strong fit. And while it remains unclear whether or not this was the best possible film for her story at the time, the film does feel undeniably connected to the broader themes and ideas that Schrader likes to explore. In many ways, this feels like a parallel film to First Reformed. A person of some status is plucked from their bubble and then forced to confront the conditions of the world. Then they have to navigate that awakening as well as possible (ie: not well). Schrader more often explores the souls of people who were forced to confront the horrors of the world long ago, but he is equally as good at showing someone’s mental collapse. While he more often than not delivers a tightly focus POV through his protagonist, he ups the ante here by delivering a far more immersive experience of a film than usual.
8. Light Sleeper 
While an enjoyable film in its own right, the aspect of Sleeper that is most interesting to consider is how the Willem Dafoe character compares to other Schrader leads and what it says about the work. Dafoe’s John LeTour is intrinsically unsatisfied with his life as a moderately high class drug dealer. That is not the uncommon aspect of this Schrader lead. For LeTour, he feels confidence in who he is underneath his job that he does not realize why everyone is not accepting him. He “feels” reformed on a level that is not matching what he does for a living, and that tension means he on some level knows he must escape the drug game. Tragedy naturally follows and only the temporary escape of prison offers him the peace he is looking for. Schrader’s view of humanity seems no less “dark” here but there is something distinctly less cynical to his work here compared to what came before and what would follow later.
7. Hardcore 
In some ways, this feels like the most essential Paul Schrader film in that it captures so many autobiographical details while also delving into so many of the essential universal themes and ideas that Schrader would explore his whole career. The Cedar Rapids hometown. The progeny escape to Los Angeles to deal in smut. The disappointed Calvinist family. This IS Paul Schrader’s story, spiritually speaking. And Schrader introduces ideas here he would explore even more later on in more detail with Patty Heart and First Reformed. George C. Scott gets pulled out of his bubble and forced to confront the harsh realities and underbelly of this world we have built. Just a knockout second feature for Schrader.
6. The Card Counter 
On the surface, this film may seem like paint-by-numbers Schrader. That would be reductive though. What he and Oscar Isaac created here was a haunting portrait of a human being who deep down knows he is very ill. He does not know how to articulate it. He does not know how he can treat it. All he knows is how to contain it. He knows how to keep it at bay. He drowns himself in routines and structures to create a traveling sensory deprivation environment that numbs him out to the world. This always works. Until it doesn’t. It’s too unnatural. We crave closeness too much and are powerless to resist it. Nor should we resist it. But when we have no tools to deal with the world around us, disaster will surely strike.
5. American Gigolo 
Schrader really does a great job of portraying men desperately clinging to the idea of maintaining the status quo of their lives by attempting to control every aspect of their lives. While Oscar Isaac’s character in Card Counter really clung to control and always kept moving to avoid the pain and sickness inside him, Gere’s character seeks to maintain control because deep inside he understands how fragile his situation is. Both protagonists make their bones outside the law (to a degree in Isaac’s case) but in a way that merely illustrates how silly and arbitrary many laws are. Isaac is trying to prevent something deep inside him from spilling out into the world whereas Gere takes actions to prevent the world from creeping into his bubble. The same arbitrary laws that he ignores also foster a situation where sometimes Gere must make compromises in order to grow and take on new challenges. And that is what brings down everything. Gere and Schrader were in top form here.
4. Auto-Focus 
There are a lot of ideas and concepts in this film worth exploring. There are of fascinating connections to Schrader’s other work and how this film really expands the understanding of Schrader’s exploration of the inner torment that exists in so many of us. The affliction that exists in so many of that causes a person to lash out violently against the status quo of their lives and the world. But really, this is a movie at its core that captures one of the most vital universal truths: sometimes you can be too horny for your own good. While now we can self-implode via horniness on social media, but back then you once could only destroy yourself with videotapes and horniness. Kinnear and Dafoe absolutely flourish here in this colorful yet morbid romp. Kinnear plays the very real star of Hogan’s Heroes who slowly succumbs to sex addiction. Dafoe plays his enabler (to be reductive). Together they unwittingly dig themselves into a hole from which there will be no escape. Schrader does some of the best work of his career here specifically with the lens work (combined with the set design) to capture different periods of Kinnear’s life.
3. Affliction 
“Don’t you care about what’s right?”
Affliction would actually be an apt selection as the defining theme of Paul Schrader’s work. Schrader loves to explore the great distress that lives in all of us, and here he goes all in on that idea. Nick Nolte is deeply distressed by his own inner demons and the world around him. While future Schrader leads would be troubled by large issues such as climate change and being a war criminal, Nick Nolte here is troubled by his failings as father/husband, haunted by the cruelly-still-alive father of his own, and disgusted by the possible corruption in his small town life. All of these torments converge at once on Nolte’s life, and it causes him to disintegrate rapidly. Knowing subtlety is for cowards, Schrader gives Nolte an actual toothache literal affliction to showcase how much Nolte is breaking down. There is something terribly wrong with the world, and it is destroying us from the inside out.
2. Mishima 
There are so many aspects of this film that one could point to in order to explain its excellence. Right away the score from Phillip Glass grabs you by the shoulders and roughly tosses you into the tension that you feel throughout the entire film even in the moments of calm. The opening title screen which lets you know how this film will end combined with the score creates this feeling of dread that is just overwhelming the entire time.
Then there is the narrative frame of the film. While the story of Mishima and his acolytes going to kidnap a Japanese general is happening on the margins, the heart of the film is three mini adaptations from scenes from the real Mishima’s novel. It makes a for a genuinely fresh approach to filmmaking and it allowed for a variety of stunning visuals and themes to explore.
Finally, Mishima himself serves as just a classic lost protagonist desperate to make an impact on the world. There is probably no better writer to explore such a concept than Paul Schrader. I look forward to revisiting this film time and time again in the years to come.
1. First Reformed 
“Remember that? When everything was ahead of you?”
First Reformed was the first film directed by Paul Schrader that I ever saw. Since then I have gone back and watched it as many times as I possible could. While I immediately understood that this film was “good,” I did not have the tools initially to contextualize this work in the career of one of the greatest filmmakers this country has produced. In many ways, First Reformed feels like the culmination of so many ideas, concepts, and themes that Schrader has been trying to explore from the very beginning.
Ethan Hawke is a lonely man. He has known for a long time that there is something wrong with the world and himself, but for an equally long time he has been clinging to the status quo and the institutions. Coming into contact with Amanda Seyfried and her husband forces him to confront the true horror of human existence. The planet is being destroyed for the purposes of human existence…by humans. He may have intellectually understood human existence was in danger but he was able to compartmentalize that “knowledge” in a manner that allowed him to not “feel” it.
Now, though, he cannot do anything but feel it. Cancer is eating away at him. He is drowning himself in liquor. He has managed to push away the despair of life for so long that he also never needed any hope. With the despair coming rushing back, he is then searching for a reason to hope. He is looking for a way to fight but do you fight such an existential dread? Is there even any fight to be had? What can any of us even do?