Metacritic reviews

The movie’s conclusion pits religion against personal desire in remarkably visceral terms.

In First Reformed, Paul Schrader courts respectability and leaves it in the dust, getting stoned on excess. But make no mistake: He’s still one hell of a filmmaker.

Paul Schrader has always been a faith-based filmmaker in the truest and most challenging sense, and First Reformed is the sort of stimulating work that a writer-director of a certain age can deliver when he returns to his creative sweet spot; rejoice, Schrader fans, rejoice.

Full of conviction, First Reformed feels like a lifetime of preoccupations and traumas distilled beautifully, accompanied with a haunting sparseness creating a profound deliverance.

The film itself, shot in Academy ratio in the dead of winter, is quieter and more sensitive than anything else Schrader has directed, with Ethan Hawke giving one of his finest and most moving performances in the lead role.

Hawke's performance is his most mature to date, a masterpiece of a man who cannot work himself out and yet is compelled to try.

Thoughtful, moving, overreaching and uncompromising, First Reformed is a tremendously tormented work from writer-director Paul Schrader.

First Reformed doesn’t come off as pastiche, or a raking-up of old ideas – largely because Schrader and his cast commit to the project with sharpened and unblinking seriousness, even when the going gets mesmerically weird.

The movie's concerns are obvious, not subtle, and while intellectual energy abounds, laying in subtext, building underlying tension physical and creating visual dynamism are not Schrader's strong suits.

First Reformed is a deeply felt, deeply thought picture; impressive in its seriousness and often gripping in the way it frames itself as a debate and a sermon.