Paul Schraeder’s film hits theaters on December 29 and is one of the best modern noir films of the past year.
William Tell (Oscar Isaac) has a secret that haunts him in The Card Counter. But in addition, he is one of the best poker players that one can come across in a casino, although he prefers to be a discreet guy, until The cute (Tiffany Haddish) bursts into her life. And that first meeting between what she calls “a thoroughbred” and he “the owner of the stable” is precisely what you can see in this preview clip that we offer you of this film that will be released in theaters on December 29. The film hits theaters after being very well received in The Venice Festival, and receive the award for best screenplay in Valladolid International Film Week.
The story in which the director immerses us Paul Schrader in this film produced by Martin Scorsesse It is that of William Tell, a former military man and torturer who after his time in prison becomes a professional poker player. And her routine life is transformed when she bumps into a young man who makes a suggestive proposal. The kid (Tye Sheridan, nothing to do with how we saw him in Ready Player One (2018)), son of William’s military partner who committed suicide unable to face the horrors committed, and tells him that he has found the chief torturer-instructor (Willem Dafoe) and that he plans to kill him with his help.
VENICE: The Card Counter ‘, Paul Schrader gives us the best film of the Mostra
The screenwriter of Taxi Driver serves us the best Oscar Isaac with this silent character, haunted by a violent, restrained, and routine past, with minimal gestures. That according to what Alejandro G. Calvo told us in his review “It could be in our century the Al Pacino of the 70s.” And he explains: “He does not talk to anyone, he does not try to break the bank, only to throw away with what he is wearing, while he writes a diary that we listen to in off where he explains in detail how that of making money works in places where people, normally, is ruined. “
A film in which Schrader brings out the best of himself, of his entire history both as director and screenwriter, and gives us one of his best films:
Slow pace that does not stop growing in intensity with continuous fades to black, an anguished feeling of doom as its protagonist is entangled in a great last dream that has little to do with winning the poker tournament he is playing.