Tyrel viscerally cuts to the everyday heart of living in a fraught cultural mixing pot.
The film is, even by Paul Schrader’s standards, a bleak endeavor, concerned with the durability of spirituality.
This fiery piece of pulp shrapnel receives a beautifully ugly transfer, along with a handful of negligible supplements.
Writer-director Bryan Buckley’s film is ultimately more interested in the journalist than his story.
Brawl in Cell Block 99’s economy of storytelling is as efficiently brutal as the eventual skull-crackings.
The cinematic touchstone throughout Paul Schrader’s First Reformed is the Danish director Carl Theodor Dreyer.
James Schamus’s screenplay is rich with culturally specific details that deepen these forking moral predicaments.
The main character is less of an individual, and one whom we wish to see avenged, than a transparent martyr for the collective sins of the wealthy few.