Seasoned Wall Street broker Mark Hanna (Matthew McConaughey) lays down the law of the financial jungle to newcomer Jordan (Leonardo DiCaprio), his latest protégé.
Based on the true story of Jordan Belfort, from his rise to a wealthy stock-broker living the high life to his fall involving crime, corruption and the federal government.
Rupert Pupkin’s monologue is a pivotal moment that showcases his character’s blend of humor, desperation, and delusion, revealing the lengths he’s willing to go to for a chance at stardom.
“Killers of the Flower Moon” is a 2023 movie directed by Martin Scorsese. The film is set in 1920s Oklahoma and depicts the serial murder of members of the oil-wealthy Osage Nation, a string of brutal crimes that came to be known as the Reign of Terror.
At its visionary best, Martin Scorsese’s The Last Temptation of Christ has scenes of feverish intensity that hold one in thrall.
Recensioni italiane di “Killers of the Flower Moon”, il film del 2023 diretto da Martin Scorsese. La pellicola è l’adattamento cinematografico del romanzo “Gli assassini della terra rossa” scritto da David Grann, a sua volta tratto da fatti realmente accaduti.
A chief trouble with Martin Scorsese’s new film is that it has to strain to be a Scorsese film. Certain graphic qualities have marked most of his work, and as with any director of personality and style, those qualities had become as natural to him as breathing. But in Bringing Out the Dead, the formerly natural seems forced, redemptive, almost salvaging.
Recensioni italiane del film Casinò, diretto da Martin Scorsese. Contributi di Tullio Kezich, Emanuela Martini, Irene Bignardi, Paolo Mereghetti, Alberto Crespi, Roberto Duiz, Roberto Escobar, Valerio Guslandi, Giona A. Nazzaro
The picture is virtually bare of Scorsese style, such touches, heavy or helpful, as the opening manhole shot of Taxi Driver or the opening prize-ring sequence of Raging Bull. I saw nothing in The King of Comedy that couldn’t have been done by any competent director. Cinematically, it’s flavorless.
Seeing Martin Scorsese’s new film is like visiting a human zoo. That’s certainly not to say that it’s dull: good zoos are not dull. But the life we watch is stripped to elemental drives, with just enough decor of complexity—especially the heraldry of Catholicism —to underscore how elemental it basically is.
Recensioni italiane di “Gangs of New York”, il film del 2002 diretto da Martin Scorsese. Nel film, ambientato durante lo svolgimento della Guerra Civile Americana, il giovane irlandese Amsterdam Vallon (Leonardo DiCaprio) cerca vendetta contro il gangster William Cutting, detto “il Macellaio” (Daniel Day-Lewis), assassino di suo padre.
Robert De Niro’s Rupert Pupkin is Jake La Motta without his fists. In Raging Bull, De Niro and Scorsese had things boiled down, so that Jake’s entire character was the chip on his shoulder. This time there’s no chip.
An old man recalls his time painting houses for his friend, Jimmy Hoffa, through the 1950-70s.
By far his most ambitious film to date technically and in the scope of its references, Taxi Driver shows Scorsese’s urgency working at full throttle—to the film’s considerable success and less considerable failure.
Pauline Kael reviews ‘New York Stories’, the 1989 anthology film consisting of three shorts with the central theme being New York City. Episodes directed by Martin Scorsese, Francis Ford Coppola and Woody Allen.
by Gavin Smith Gavin Smith: What was it that drew you to the GoodFellas material? Martin Scorsese: I read a review of the book; basically
Scorsese’s technique of “freezing” objects generates a particular method of cinematic exposition in which characters and objects are portrayed in a moment between movement and non-movement; this “moment” is the bridge between potential behavior and stasis. The “thing” is frozen or suspended on the screen, and the possibility of either stasis or experience emerges from this momentary suspension.
In Taxi Driver, New York City is a steaming, polluted cesspool and Travis Bickle’s cab a drifting bathysphere from which he can peer at the “garbage and trash” which obsess him: whores, pimps, junkies, wandering maniacs, maggotty streets, random violence.
Martin Scorsese’s Mean Streets is a true original of our period, a triumph of personal filmmaking. It has its own hallucinatory look; the characters live in the darkness of bars, with lighting and color just this side of lurid. It has its own unsettling, episodic rhythm and a high-charged emotional range that is dizzyingly sensual.
Novelist of ‘Nothing Natural’, Jenny Diski, watches a video of the first ‘Cape Fear’ and the Scorsese remake – and compares them
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