By Laboured Go To Post(in haram KORSUB)Nah, Icelandic
By Lunatic Go To PostNah, Icelandic
Mother of God.
By Laboured Go To PostHe's doing a spinoff.Feet Space 9?
Gangs of New York
Like ‘The Last Temptation of Christ’, a Scorsese passion project leads way to an unfocused film, which tries to do too much but wears its heart on its sleeve and is unquestionably a work of supreme technical talent and verve.
The broadness of the film and the performances are its true detractions; for as engaging and delightful a presence as Day-Lewis is here, he’s a comical one for the most part, and the rest of the actors, Irish brogues and all, follow suit. Similarly, the script and editing are rare Scorsese-approved ones that doesn’t trust its audience; there’s flashbacks, unnecessary dialogue used to explain the imagery happening on the screen. Even the voiceover isn’t from a character perspective a la Henry in Goodfellas; it’s purely for a narrative purpose.
Despite that, there’s much to love here. Technically it’s astounding. Dante Ferretti’s production work is astonishing, and the verisimilitude of the sets is among Scorsese’s best.
In the end, Scorsese becomes overwhelmed by everything he wants to include: there’s racial tension, religious wars, conscription riots, a romance subplot all on top of the main conflict between Amsterdam and Bill, and it leads to a lack of cohesion. Its ambition however goes some way to making up for its flaws. A weaker Scorsese, but still categorically a very good movie, with a stunning ending.
The Aviator
Amusing that Scorsese would reach for the stars in creating a Great American Epic just a few years earlier, and then does it here. The rise and fall of Howard Hughes, his Icarus-like climb to the mountaintop before his ambition, illnesses and personal squabbles proved the undoing of him, is a portrait of American capitalism pushed to its excess; when no one ever tells you no, the only person who can ruin you is... you. Goes super well with Wolf and Casino in a triptych of ‘modern America fuckin’ sucks’ movies.
DiCaprio is excellent here, fully shedding the rawness of his early performances and finding a role that uses his boyish looks to haunting affect. Scorsese, Richardson and Ferretti are at the peak of their powers here (the colour grading! The aerial battles!), and Howard Shore’s score is simply incredible. The scene in which Hughes crashes his plane is as horrifying as any he’s ever filmed.
Scorsese doesn’t deviate from traditional biopic norms, but what he does deliver here is outstanding; it’s a clinic in absolute top-of-the-range competency in profiling a subject. I dare say there isn’t many better of its kind around.
Like ‘The Last Temptation of Christ’, a Scorsese passion project leads way to an unfocused film, which tries to do too much but wears its heart on its sleeve and is unquestionably a work of supreme technical talent and verve.
The broadness of the film and the performances are its true detractions; for as engaging and delightful a presence as Day-Lewis is here, he’s a comical one for the most part, and the rest of the actors, Irish brogues and all, follow suit. Similarly, the script and editing are rare Scorsese-approved ones that doesn’t trust its audience; there’s flashbacks, unnecessary dialogue used to explain the imagery happening on the screen. Even the voiceover isn’t from a character perspective a la Henry in Goodfellas; it’s purely for a narrative purpose.
Despite that, there’s much to love here. Technically it’s astounding. Dante Ferretti’s production work is astonishing, and the verisimilitude of the sets is among Scorsese’s best.
In the end, Scorsese becomes overwhelmed by everything he wants to include: there’s racial tension, religious wars, conscription riots, a romance subplot all on top of the main conflict between Amsterdam and Bill, and it leads to a lack of cohesion. Its ambition however goes some way to making up for its flaws. A weaker Scorsese, but still categorically a very good movie, with a stunning ending.
The Aviator
Amusing that Scorsese would reach for the stars in creating a Great American Epic just a few years earlier, and then does it here. The rise and fall of Howard Hughes, his Icarus-like climb to the mountaintop before his ambition, illnesses and personal squabbles proved the undoing of him, is a portrait of American capitalism pushed to its excess; when no one ever tells you no, the only person who can ruin you is... you. Goes super well with Wolf and Casino in a triptych of ‘modern America fuckin’ sucks’ movies.
DiCaprio is excellent here, fully shedding the rawness of his early performances and finding a role that uses his boyish looks to haunting affect. Scorsese, Richardson and Ferretti are at the peak of their powers here (the colour grading! The aerial battles!), and Howard Shore’s score is simply incredible. The scene in which Hughes crashes his plane is as horrifying as any he’s ever filmed.
Scorsese doesn’t deviate from traditional biopic norms, but what he does deliver here is outstanding; it’s a clinic in absolute top-of-the-range competency in profiling a subject. I dare say there isn’t many better of its kind around.
n8 could you be a little less wordy?
Here's my review of IT part 2:
I dont know why i watched the second IT episode/movie. yeah that was shit.
Here's my review of IT part 2:
I dont know why i watched the second IT episode/movie. yeah that was shit.
I'm still pissed Million Dollar Baby won over Aviator for Best Director. What a fucking sham that was.
By reilo Go To PostI'm still pissed Million Dollar Baby won over Aviator for Best Director. What a fucking sham that was.
Diabolical decision.
Tbf, Marty should have won best director like four times by now ffs
I'm trying hard not to make the argument that Marty should've won for Wolf of Wall Street because I love Cuaron so much. But Cuaron should've won for something other than Gravity. It's tough.
By i can get you a toe Go To PostShould have got it for Raging Bull it's been a shitshow since.He should have won for Goodfellas too
Raging Bull, Goodfellas, The Aviator for sure.
And then you could easily make arguments for Mean Streets, Taxi Driver, The Departed, Wolf of Wall Street, Casino, Silence...
And that’s ignoring some amazing movies which lack what we’d consider directorial panache, like King of Comedy and Bringing out the Dead. And then even films like Gangs of New York, which isn’t amazing... he directs the fuck out of that movie.
And then you could easily make arguments for Mean Streets, Taxi Driver, The Departed, Wolf of Wall Street, Casino, Silence...
And that’s ignoring some amazing movies which lack what we’d consider directorial panache, like King of Comedy and Bringing out the Dead. And then even films like Gangs of New York, which isn’t amazing... he directs the fuck out of that movie.
By reilo Go To PostI'm trying hard not to make the argument that Marty should've won for Wolf of Wall Street because I love Cuaron so much. But Cuaron should've won for something other than Gravity. It's tough.
Think McQueen should have won that year tbf. Would have had Coens probably above Cuaron too.
By reilo Go To PostI'm trying hard not to make the argument that Marty should've won for Wolf of Wall Street because I love Cuaron so much. But Cuaron should've won for something other than Gravity. It's tough.It's been clear for a long time that a bunch of the academy awards are playing catch up to when someone should have gotten it years previous then someone else gets cheated and the cycle continues. It doesn't help that there is a small voting block and films/directors/whatever actually campaign and send gifts instead of just getting awards based on their merit.
Just took a glance at the 80s cause it's been a while and the noms/winners for a bunch of the years especially best picture are just laughable damn.
By Wahabipapangus Go To Postn8 could you be a little less wordy?
Here's my review of IT part 2:
I dont know why i watched the second IT episode/movie. yeah that was shit.
Like quite remarkably shit. The first was a passable horror movie. This movie was like they fired everyone form that movie and replaced them with interns.
By Flutter Go To Postnothing some boot polish couldnt fixi feel bad but i laughed
By NinjaFridge Go To PostFeet Space 9?This is a great post. Shame n8 had to come in and shit the place up.
OUATIH (Tarantino) is great, one of his best imo. But sometimes, especially the first half hour, there's some pretty weird and abrupt cuts.
By Lupercal Go To PostOUATIH (Tarantino) is great, one of his best imo. But sometimes, especially the first half hour, there's some pretty weird and abrupt cuts.right? It kept you in suspense for no reason
By Laboured Go To Postbummed about this
By Lupercal Go To PostOUATIH (Tarantino) is great, one of his best imo. But sometimes, especially the first half hour, there's some pretty weird and abrupt cuts.
Was so weird, always seemed to be when Leo was talking.
I agree it is one of his best. Crazy how good Leo is when they are doing the Tv show within the film. I completely forgot what I was watching and was so disappointed when the scene came to end.
Going back on Joker, the shot of Joker sitting there after shooting Deniro was fantastic. Out of everything, that shot stuck with me the most, it seemed so familiar. is it based off another movie?
shot : https://i.imgur.com/2R26u5i.jpg
shot : https://i.imgur.com/2R26u5i.jpg
By bud Go To PostSomewhat interesting... But definitely not epic.
The Departed
Ten years ago, this was probably the first Scorsese film I’d ever seen, and I’d probably have said it was a bona fide masterpiece based on my first few viewings.
Having not seen it in four or five years, and having watched his films sequentially, it suffers in comparison, largely because it feels like the kind of film Scorsese can make in his sleep. There’s no sense that he’s stretching himself here, no feeling that he’s doing anything other than delivering a prime piece of entertainment.
And make no mistake, it is that. The cast is uniformly excellent (even if they can be a little broad - not just Nicholson, but Damon and Wahlberg too); DiCaprio in particular is outstanding. Schoonmaker here is the real hero; for such a potentially convoluted story, there is a real sense of cohesion, and the constant juxtaposition of Costigan and Sullivan through both editing and Monahan’s smart script is perfectly executed.
It’s a wildly entertaining film, and Scorsese does a brilliant job bringing it to life. But there’s a certain conservative safeness about it all; he isn’t showing wild ambition a la ‘New York New York’ or ‘Gangs of New York’; it isn’t experimental in its filmmaking like ‘The Aviator’ or ‘Hugo’. And for that, it suffers. But for a film like ‘The Departed’, which thoroughly deserved its awards and acclaim, to be roughly the tenth best film one has made, means one has had an astounding career.
Ten years ago, this was probably the first Scorsese film I’d ever seen, and I’d probably have said it was a bona fide masterpiece based on my first few viewings.
Having not seen it in four or five years, and having watched his films sequentially, it suffers in comparison, largely because it feels like the kind of film Scorsese can make in his sleep. There’s no sense that he’s stretching himself here, no feeling that he’s doing anything other than delivering a prime piece of entertainment.
And make no mistake, it is that. The cast is uniformly excellent (even if they can be a little broad - not just Nicholson, but Damon and Wahlberg too); DiCaprio in particular is outstanding. Schoonmaker here is the real hero; for such a potentially convoluted story, there is a real sense of cohesion, and the constant juxtaposition of Costigan and Sullivan through both editing and Monahan’s smart script is perfectly executed.
It’s a wildly entertaining film, and Scorsese does a brilliant job bringing it to life. But there’s a certain conservative safeness about it all; he isn’t showing wild ambition a la ‘New York New York’ or ‘Gangs of New York’; it isn’t experimental in its filmmaking like ‘The Aviator’ or ‘Hugo’. And for that, it suffers. But for a film like ‘The Departed’, which thoroughly deserved its awards and acclaim, to be roughly the tenth best film one has made, means one has had an astounding career.
Actually feel Infernal Affairs is much better than Departed.
but then again I have a hard on for Tony Leung.
but then again I have a hard on for Tony Leung.
nicholson's performance in that film is comical. was really hard to take him seriously as a major crime lord.
i'm not a fan, but i do think this was one of his better performances.
By FortuneFaded Go To PostMark Wahlberg’s perfect role.
i'm not a fan, but i do think this was one of his better performances.
By bud Go To Postnicholson's performance in that film is comical. was really hard to take him seriously as a major crime lord.This. and.
By Flutter Go To PostActually feel Infernal Affairs is much better than Departed.This.
but then again I have a hard on for Tony Leung.
By Laboured Go To PostThe Day Shall Come is phenomenally good.It's very odd, but I enjoyed it a lot. Had a feeling of Four Lions just throughout
Ford vs Ferrari was made for the same people that thought Green Book was the best movie released last year.
By cashman Go To PostFord vs Ferrari was made for the same people that thought Green Book was the best movie released last year.hot damn i gotta see it then!
By cashman Go To PostFord vs Ferrari was made for the same people that thought Green Book was the best movie released last year.White people?
By Shanks D Zoro Go To PostWas so weird, always seemed to be when Leo was talking.Supposedly he ad libbed the times that he forgot his lines... Timothy Olyphant has a point where he looks at the camera with a real wtf face because he thought Leo was fucking up frfr
I agree it is one of his best. Crazy how good Leo is when they are doing the Tv show within the film. I completely forgot what I was watching and was so disappointed when the scene came to end.
By cashman Go To PostFord vs Ferrari was made for the same people that thought Green Book was the best movie released last year.
Only Hollywood can make the 3rd largest company in America an underdog against a cash stripped little Italian car company.
By blackace Go To PostSupposedly he ad libbed the times that he forgot his lines… Timothy Olyphant has a point where he looks at the camera with a real wtf face because he thought Leo was fucking up frfr
Leo is great at Ad libbing. I really got to watch it again. Quality film.