The film, written and directed by Schrader, follows William Tell (Oscar Isaac), a gambler and former serviceman who sets out to reform a young man seeking revenge on a mutual enemy from their past. Tell just wants to play cards. His spartan existence on the casino trail is shattered when he is approached by Cirk, a vulnerable and angry young man seeking help to execute his plan for revenge on a retired military major. Tell sees a chance at redemption through his relationship ... (Full plot summary below)
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The film, written and directed by Schrader, follows William Tell (Oscar Isaac), a gambler and former serviceman who sets out to reform a young man seeking revenge on a mutual enemy from their past. Tell just wants to play cards. His spartan existence on the casino trail is shattered when he is approached by Cirk, a vulnerable and angry young man seeking help to execute his plan for revenge on a retired military major. Tell sees a chance at redemption through his relationship with Cirk. Gaining backing from mysterious gambling financier La Linda, Tell takes Cirk with him on the road, going from casino to casino until the unlikely trio set their sights on winning the World Series of Poker in Las Vegas. But keeping Cirk on the straight-and-narrow proves impossible, dragging Tell back into the darkness of his past.
Leave your thoughts about The Card Counter.
| RogerEbert.comGlenn KennyWith The Card Counter, Schrader has a sub-theme he can toss off like a light cloak, and when he does, the movie swerves into a semi-surreal realm not entirely like that of the climax of First Reformed. But then it swerves back into a variation on Bresson that constitutes one of the most brilliant shots of his career. |
| Vanity FairCassie da CostaYou’ll leave the film unable to stop thinking about its dimensions. |
| Chicago Sun-TimesRichard RoeperWith spectacularly haunting original songs by Robert Levon Been of Black Rebel Motorcycle Club accompanying the journey, Schrader expertly captures the equal parts exciting and depressing worlds of casinos, where the slots are always jangling and the bar is always open. |
| New York Magazine (Vulture)Alison WillmoreWhat makes The Card Counter so delicious, aside from the Mad Libs quality of the way it connects card playing and government-sanctioned torture, is that the movie undermines the Spartan swagger of William’s half-existence as often as it basks in it. |
| The PlaylistRodrigo PerezIt’s truly a wild, blazing ride if you get on the movie’s bruising, mesmeric wavelength, a tragic but deeply moral film about a righteous, transactional man who has truly weighed and considered the cost of the wicked transgressions committed against his country, his fellow man, and his own soul. |
| TimeStephanie ZacharekThe Card Counter, with Isaac’s superb performance at its heart, might be the movie you didn’t know you were wishing for, coming at a time when wishing for life to restart has become a consuming preoccupation. |
| Arizona RepublicBill GoodykoontzAs with First Reformed, Schrader crashes right through the boundaries separating the literal from the surreal. It is a strange journey, increasingly so, but an immensely satisfying one. |
| ABC NewsPeter TraversA new Paul Schrader movie is always an event and this spellbinding meditation on sin and salvation—seen through the eyes of a gambler (a superb Oscar Isaac) who counts cards to both escape and confront his torturous past—is one of his best. |
| The New York TimesManohla DargisThe solitary man returns in The Card Counter, a haunting, moving story of spirit and flesh, sin and redemption, love and death about another lonely soul, William Tell, who, with pen to paper, grapples with his present and his unspeakable past. |
| Los Angeles TimesJustin ChangScene by scene, it pulls us into a world that coheres not just through plotting and dialogue, but through the sharp rhythms of Benjamin Rodriguez Jr.’s editing, the hard shimmer of Alexander Dynan’s images and the humdrum precision of Ashley Fenton’s production design. |
