The Yards is a very personal statement from director James Gray, but it also shows where the American filmmaker’s delicate and painterly style has found itself more fully realized. It’s a personal testament for him, especially in its own setting within the train yards of New York City – but how the backdrop even plays a big factor in allowing something so grand and cathartic to come forward also says a lot for what the filmmaker can be like at his very best. This only being the American filmmaker’s sophomore film, The Yards is a very special sort of crime drama, one whose most beautiful moments have went completely understated, yet there’s always something to be drawn into. If there’s ever a more fitting description for the work of James Gray, you can already feel as if the core of what makes his films so beautiful is there, but maybe it’s not flashy – though I think they’re better off that way. And fittingly enough, I felt convinced enough that I had for the longest time been underestimating his work.