Master Gardener is the third entry in writer/director Paul Schrader’s “man in a room” series, and it’s a satisfying albeit modest finish to a contemplative trilogy the filmmaker hadn’t initially planned.

For those who are new to Schrader’s trilogy (First Reformed, The Card Counter), each film has a different lead character, but they share similar traits and troubles that threaten their way of life – for better or worse.  With Master Gardener, Schrader places focuses on an enigmatic and passionate horticulturist, Narvel Roth (played with intensity by Joel Edgerton).  He, and his tight team, work on an estate owned, and lived on, by icy dowager Norma Haverhill (Sigourney Weaver).  The gardeners take great pride in their work.  The employees view Narvel as a mentor, and the respect is reciprocated from Roth.  When Roth is asked by Norma to extend his help and accept her grandniece Maya (Black Adam’s Quintessa Swindell) as his new apprentice, Narvel abides but is surprised by how much change happens to him in the process;  including reuniting with his tumultuous past of hate which will assist in his current attempts to redeem himself.

Although the performances are top-tier, Master Gardener is certainly the stagiest work from Schrader in recent memory;  with his direction and the company’s line readings resembling live theatre (much like David Cronenberg’s highly disciplined yet stilted historical drama A Dangerous Method).  It’s still a solid effort from everyone involved, but the tricks Schrader revisits (such as sudden vivid and dreamy visuals and stylistic shunts from traumatic flashbacks) have been incorporated better in his previous movies with more memorable panache.  In fact, if you’re not familiar with either First Reformed or The Card Counter, you may find Master Gardener is a slow-burning film that almost nuances itself into a coma.

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Addison Wylie: @AddisonWylie