The late-career revival of Paul Schrader has been one of the pleasures of the last few years of cinema. In the first 15 years of the 21st century, Martin Scorsese’s longtime screenwriter essentially fell off the map of Hollywood: Fired in 2003 from a prequel to The Exorcist because the studios hated the initial cut so much (though the version refilmed and recut by Renny Harlin was ultimately much worse), he made a few forgettable movies and then found himself unable to get funding for any of his projects. This led to the notorious yet tedious case of The Canyons, …
This article appears as “High Stakes” in the October 4, 2021, print edition of National Review.
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