Review of the Card Counter Movie

May 22, 2023 0 Comments

At the center of Paul Schrader’s The Card Counter is Wilhelm Tell, a man who is finally free after years in cage. His mind is that of a nomad who taught himself to count cards and cheat the gambling system. That’s how he survives. With a few suitcases and depending on the comfort of the motel rooms. Every evening or every day she covers every piece of furniture with fabric and sits down to write in a diary… sleep. Whatever it takes to calm him down. Because Tell has nothing traditional. Not even how he behaves when it’s time to rest. It’s a secret, and that’s okay. Schrader’s universe is full of them.

When Tell is emotionally forced to land on this social plane, he meets a young man with a troubled past and a thirst for revenge. Tell opens and then we find out what’s behind the puzzle that Schrader put together for us. Again, nothing traditional. Even more so, how the director conveys a narrative sense in the current cinema. You know that sometimes it’s just magnetic forces when you’re in the clutches of Schrader and as pleasant as his world is. Tell’s story attracts you and never lets you go.

But it’s all in Schrader’s narrative style. As usual, the card counter does not follow the regular structure for action or characterization. However, there is an emotional attraction that only grows with time. The characters are good, in their own way. You will do good in this world, but considering what code? The morality-based short story The Card Counter was written and directed by the experienced Schrader, the director with a dysfunctional social media troupe, who will talk to you directly if necessary. He has no restrictions when dealing with the world of his true role in the lazy Moderna’s society, where values are twisted towards convenience, and yes, indignation tends to be selective and directed against everything that the media tells him.

In the card counter, the player decides to help the young man while studying the possible success as a poker player and lover. He decides that he will do everything in his power to tip the scales in his favor. If he wins, he will help the child to return to normal and forget about the reality for which Tell is partly responsible. At least that’s how he feels. A final decision in the third act puts the film on Schrader’s path to subjugating humanity to its darkest element. Tell is successful, we believe. But was it really necessary?

This is not a convincing film. His emotional appearance follows the style and rules of Schrader. If you are familiar with his career, you may already decide if this is your kind of movie. Oscar Isaac, Tye Sheridan and Tiffany Haddish are exceptional when it comes to staging the complex plot

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