by David Gurevich
There are few modern American directors who are as obsessed with sin as Paul Schrader (Hardcore and Comfort of Strangers). Sometimes it works, as in Taxi Driver, which he scripted. But sometimes Mr. Schrader gets so obsessed that he forgets that the sheer strength of moral convictions doth not a film make. You need a few other things: a well-paced plot and a convincing main character, for example.
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