Killers of the Flower Moon.

Review #2142: Killers of the Flower Moon.

Cast: 

Leonardo DiCaprio (Ernest Burkhart), Robert De Niro (William King Hale), Lily Gladstone (Mollie Kyle), Jesse Plemons (Thomas Bruce White Sr), Tantoo Cardinal (Lizzie Q), John Lithgow (Prosecutor Peter Leaward), Brendan Fraser (W. S. Hamilton), Cara Jade Myers (Anna Brown), JaNae Collins (Reta), Jillian Dion (Minnie), Jason Isbell (Bill Smith), William Belleau (Henry Roan), Louis Cancelmi (Kelsie Morrison), Scott Shepherd (Byron Burkhart), Everett Waller (Paul Red Eagle), Talee Redcorn (Non-Hon-Zhin-Ga / Traditional Leader), Yancey Red Corn (Chief Bonnicastle), Tatanka Means (John Wren), Tommy Schultz (Blackie Thompson), Sturgill Simpson (Henry Grammer), and Ty Mitchell (John Ramsey) Directed by Martin Scorsese (#990 - Taxi Driver, #992 - The King of Comedy, #1276 - Mean Streets, #1463 - Raging Bull, #1496 - Goodfellas, #1544 - The Departed, #1559 - Hugo, and #1567 - The Wolf of Wall Street)

Review: 

“As far as taking risks at this age, what else can I do? No, let’s go do something comfortable.’ Are you kidding?”

The Native American and the white man in particular, did not have the greatest of relations in the early years of the United States, particularly in the 19th century. At any rate, by the dawn of the 20th century, the Osage Nation was undergoing significant change. The Burke Act in 1906 tried to assess the competency of Native Americans (as a person), while the Oklahoma and Indian Territories merged in 1907 when they were admitted into the Union. By this time, the Osage had found oil on their land. Long story short, there were headrights assigned to the people of the tribe when it came to royalties for oil, which would change their lives in ways that could never be reversed (which is depicted in the opening of the film with a ceremony cutting right to oil). There were guardians assigned to the tribe to "manage" the rights for decades (incidentally, when the Indian Citizenship Act of 1924 was signed, President Calvin Coolidge was photographed with four members of the Osage). By the time legislation was done to ensure that non-Osage could not inherit the headrights, a string of murders later called "The Reign of Terror" was already in motion for people such as the Bureau of Investigation (later named the FBI) to eventually break into. The murders had a wide effect for the people that saw it and others around. Fred Grove (a part-Osage) was a child when he heard the bombing murders and became a novelist. Tragedies of the Osage Hills (1926) was a dramatization done by James Young Deer (a man with Nanticoke ancestry), although it is now lost. The FBI Story (1959) dramatized the crime investigation The movie shows a handful of the murders, but it is estimated that over 60 people may have been murder as a part of these murders, with one of the ringleaders being William King Hale. In 2017, the nonfiction novel Killers of the Flower Moon: The Osage Murders and the Birth of the FBI as written by David Grann, was published, and the attention was so present that Imperative Entertainment paid $5 million to the film rights the year before the film was released. The original intent for the film apparently was focusing mostly on the investigation (where DiCaprio would star as Thomas Bruce White). However, this was shifted to a focus instead onto Ernest Burkhart and his wife Mollie Kyle as Scorsese stated that since the audience knows the film is really a "who-didn't-do-it" rather than a whodunit. Osage Nation chief Geoffrey Standing Bear served as a consultant on the film; Scorsese wrote the film with Eric Roth

Leave it to me to give credit to Apple TV+ for helping to fund the film (Paramount Pictures became distributor rather than just the whole funding studio when fears arose about the budget rising to $200 million). Well, anybody that lets a film that runs for over three hours a proper release in cinemas deserves worthwhile attention, so imagine releasing one that is really good. Scorsese is one of our most enduring directors alive today when it comes to storytelling that has the scope and range to back up everything that comes and goes with this film. It is a lament for the dead that seems now more than ever important to remember when it comes to the lessons that one can find within the dangers that come in greed and power. The pace never seems to loom on one's interest because of just how much there is to show within this town in terms of hypocrisy. People are killed or set up to be killed in ways that make one recoil in the sheer audacity. There are so many actors present that pop in and out that can't even be mentioned due to space (such as Barry Corbin, playing a gloomy undertaker, or Fraser using those moments of screentime for appropriate bluster opposite Lithgow), much in the same way that one can't mention every nook and cranny when it comes to the history aspects (the book notes the rumor that William Hale was the father of the unborn child that was being carried by Anna Brown before she was murdered). This is quite a worthy trio to hold it all together when it comes to just how much greed and language can touch upon people's lives (consider that De Niro's character speaks to the Osage in their language and yet it never is translated). The dynamic of DiCaprio and Gladstone is especially important to gaze upon when it comes to viewing just what looks like deception and looks like an actual sense of love. DiCaprio sells the game well when it comes to playing the part of puppet and puppeteer that makes for such a grand act of pathetic measures of men. Admittedly, it might seem odd that Hale, a person who was in his late forties when the murders were being done, is being played by De Niro (in his late seventies), but he proves a skillful performance in conniving sociopathy, one who never looks to show any remorse for what they reap and see from their actions. Amidst all of the tragedy, the one most visible is with Gladstone because of the decay that becomes apparent the longer the proceedings go on that she handles with tenacity. That last scene with her and DiCaprio is a worthy one to close their story out with all one needs to know when it comes to truths and lies. The way that the film ends is particularly well done because it goes twofold with how the last words go with the last image of Osage celebrating their culture in a large tribal dance with just what has endured from those dark days. People live, people die, but the culture endures. As a film, it is a great tragedy that will surely prove enduring when looking upon the many worthy films that Scorsese has made as a filmmaker in over a half-century. This lesson of greedy horror in a time that does not strike as too different from now is handled with effective execution and stature that could only be viewed best with dedicated patience and curiosity through and through.

Overall, I give it 10 out of 10 stars.

The Wolf of Wall Street.

Review #1567: The Wolf of Wall Street.

Cast:
Leonardo DiCaprio (Jordan Belfort), Jonah Hill (Donnie Azoff), Margot Robbie (Naomi Lapaglia), Kyle Chandler (Patrick Denham), Rob Reiner (Max Belfort), Jon Bernthal (Brad Bodnick), Matthew McConaughey (Mark Hanna), Jon Favreau (Manny Riskin), Jean Dujardin (Jean-Jacques Saurel), Joanna Lumley (Aunt Emma), Cristin Milioti (Teresa Petrillo), Aya Cash (Janet), Christine Ebersole (Leah Belfort), Shea Whigham (Captain Ted Beecham), Katarina Cas (Chantalle Bodnick), Stephanie Kurtzuba (Kimmie Belzer), P. J. Byrne (Nicky Koskoff), Kenneth Choi (Chester Ming), and Brian Sacca (Robbie Feinberg) Directed by Martin Scorsese (#990 - Taxi Driver, #992 - The King of Comedy, #1276 - Mean Streets, #1463 - Raging Bull, #1496 - Goodfellas, #1544 - The Departed, and #1559 - Hugo)

Review:
"If you look at what occurred in the world of finance—many times now and it will probably happen again—you really have to ask the questions: Is dishonesty acceptable? Aren’t people expected to go too far?”

"It’s interesting, because I have been doing this since I was 13. I am almost about to turn 40, and I am looking back at some of the stuff I’ve gotten to do, and at the center of it is this amazing accidental collaboration that I’ve gotten to have with Marty.”

There have been quite a number of director-actor teams over the prevailing decades of cinema, and one could only hope to make one as worthwhile and engaging for both on and behind the camera as Martin Scorsese with Leonardo DiCaprio. They haven't worked with each other as much as another certain duo involving Scorsese, but their five films together have served each other well in terms of audience appeal and curiosity over people at the prime of who they are in direction and acting. Both were well-regarded names before the 21st century had even started, and their first collaboration together would be with Gangs of New York (2002). This is the fifth film that they had made together as star director and actor (with a sixth collaboration reportedly coming sometime in this decade). DiCaprio had wanted to make this film since 2007 when it was brought to his attention by producer Alexandra Milchan, finding interest in its portrayal of people addicted to obtaining wealth by any means necessary and the "author's singular transparency"; this would also attract Scorsese to the project as well to direct alongside produce with DiCaprio and others, while Terence Winter (most known for his writing work on The Sopranos and developer/writer of Boardwalk Empire) was brought in to write the screenplay.

Undeniably, it will spark thoughts of Goodfellas (1990), Scarface (1983), or especially Wall Street (1987). Sometimes one has to embrace the madness that comes from a movie like this, a film with no shame or qualms about showing the nature of depravity within trying to make money alongside uncompromising honesty that makes for a strange wild movie that certainly proved different from viewer to viewer in enjoyment. The film is based on the book of the same name by convicted felon Jordan Belfort, and if you believe what you hear from him, what occurred in the memoir was actually toned down in regards to the levels of debauchery (which already seem high), but we are talking about a movie that fudges with some of the real names (such as Danny Porush, Gregory Coleman, Ira Sorkin, and even Belfort's two wives). If the subject depicted on screen found the film to be fairly accurate, can one really go wrong? If you hear it from his partner Porush (fellow convict and apparent gold-fish consumer), one wonders just exactly was accurate in the incidents depicted. Or how about from the attorney that prosecuted him? Just what does want from a biographical black comedy about excess with fraud? You know Belfort is a felon, and I know he is a felon that now does motivational speaking, yet here we are. Who are we kidding though? It is a movie about people who can't help but want to make money (and lots of it). I think maybe this is a barometer film for those who look at films for their content or about what they really say as a whole, where one could really either find to be a blistering roar of humor within ethical malaise, or perhaps a film bloated on purpose too much for its own good to mean anything. We could go through the wheelbarrow of things to describe al day, whether that means little people being tossed, yacht crashing, shaven heads for big money, etc, etc. I think I fall into the former category, because I did like what I saw here, but there always seems to be something gnawing in my mind that knows it is just pretty good rather than great. If I want a film with more balance towards the authorities with fraud, I could just pass a glance to an American Greed rerun. It is wild, crude, unbalanced, and everything in the book of what makes a film ripe for unrestrained potential. One obviously starts with DiCaprio in highlighting the biggest strength. Simply put, he does a great job in generating a sort of feral charisma, a man you can find yourself yelling along with in the breakroom even when you the viewer knows the result of said practice-making. His asides and voiceovers throughout the film help as well in generating a fascinating performance, one that dazzles the viewer in his range in where he progresses in the pursuit of money and vices that come from such ravenous appetite, and perhaps it isn't surprising that he equated Belfort to being like a "modern-day emperor Caligula". Hill was so desperate to work with Scorsese and play that part that he took a significant pay-cut to do so. Clearly, it seemed to pay off well for Hill, who is such a rapid-fire presence of excellence, one that seems exactly in his element to be part of the pursuit for money as a creature of brashness and budding one-two act with DiCaprio, one that can make eating a goldfish not seem like a hammy moment. Robbie works well in those moments spent with DiCaprio that are dazzling in allure for what is needed in a film building people up in currency beyond just the money on the table. Chandler is the carefully smooth figure in authority, driven in those little moments without needing to be a bigger focus - the sequence on the yacht with him and DiCaprio is a skillful one to see the wheels turn in cat-and-mouse play. Reiner, the TV star-turned-director-turned-occasional actor, does well in handing in some blustery sense that is needed. Bernthal lends a deliberate coarse hand that works with the other associates seen mostly for the first half alongside the other associates of growing wry sellers. McConaughey isn't in the film long, but the chest beating and humming scene is easily the sparkplug scene that rolls the film along rightly, while others lend supportive hands for dubious measures in Favreau, Dujardin and Lumley. As a whole, it is definitely a film to set a whole day for to see the mayhem of moral bankruptcy for three hours that will reward those who find its intent useful without thinking it as unsubtle. If you are into what the film is selling, go right on ahead for one of the most interesting features to sit through for its era from a prime duo worthy of seeing on screen to do it.

Overall, I give it 9 out of 10 stars.

Hugo.

Review #1559: Hugo.

Cast: 

Asa Butterfield (Hugo Cabret), Chloë Grace Moretz (Isabelle), Ben Kingsley (Georges Méliès / Papa Georges), Sacha Baron Cohen (Inspector Gustave Dasté), Ray Winstone (Claude Cabret), Emily Mortimer (Lisette), Jude Law (Mr. Cabret), Helen McCrory (Jehanne D'Alcy / Mama Jeanne), Michael Stuhlbarg (René Tabard), Christopher Lee (Monsieur Labisse), Frances de la Tour (Madame Emile), and Richard Griffiths (Monsieur Frick) Directed by Martin Scorsese (#990 - Taxi Driver, #992 - The King of Comedy, #1276 - Mean Streets, #1463 - Raging Bull, #1496 - Goodfellas, #1544 - The Departed)

Review: 

"And in my film, the cinema itself is the connection--the automaton, the machine itself becomes the emotional connection between the boy, his father, Méliès, and his family. It's about how it all comes together, how people express themselves using the technology emotionally and psychologically. It's the connection between the people, and the thing that's missing--how it supplies what's missing." - Martin Scorsese

"Every second the actor playing different scenes ten times has to remember, while the film is rolling, exactly what he did at the same point in the preceding scenes and the exact place where he was on the stage." - Georges Méliès

Yes, this is a film by Martin Scorsese, but as is the case with his films, there is certainly more than meets the eye with that statement. In this case, one can start with a legendary director that lived over a century before this film existed with Georges Méliès. He has been long overdue for a spotlight with his films (or at the very least more than one sentence), as he did a large amount of films (most of them falling under the category of "short", but this was late 19th/early 20th century filmmaking). He was inspired to create from a young age, whether that meant drawing all over his books or with puppet-making. As one might see from the film, he developed an interest in stage magic, which led to him having his own theatre to do said performances; he did indeed find inspiration with a showing of the Lumière brothers' cinematograph in 1895 (attempts to buy it were unsuccessful, but by 1896 he had found a projector to use and modify as a camera for his films). He made over 500 films in his lifetime (although less than half survive), with the most obvious highlight being A Trip to the Moon (1902), displaying the first iconic shot ever put to film that is shown a century later with this feature. Melies declined by the end of the 1910s due to a variety of factors ranging from World War I to finances, though he did find a living working a candy/toy stand in the Gare Montparnasse, while having a rediscovery from journalists prior to his death in 1938, which included the Chevalier de la Légion d'honneur alongside a variety of future influences.

The film is adapted from 2007 novel The Invention of Hugo Cabret by Brian Selznick, with John Logan serving as screenplay writer. One can hope that they do not grow tired of seeing a director's vision come out on screen with such interest and efficient, regardless if it is a great director or not. It is interesting in that sense to see a film from Scorsese aimed differently from his usual audience - basically, one can watch the film with their children or by themselves and have a good time. It is a film with a deep respect for its audience alongside cinema that makes for a fairly fabulous achievement (one filmed in 3D, although obviously I can't recreate the experience of said 3D). The film runs at a generally enjoyable pace at 126 minutes that unfolds itself and its surroundings with careful planning that makes a worthy adventure with plenty of visual appeal while also drawing upon the past with a well-touched stroke of the pen. The film is tasked with needing two worthwhile child actors to bridge key gaps in the film, and Butterfield and Moretz do fairly well with generating the presence needed to capture the wonder and curiosity needed from each that should be expected from films like this. Kingsley is capably up to task with inviting mystery and interest in those moments he is around, particularly when explaining who he was as compared to now. Cohen is up to task in some bumbling amusement without preening distraction, proving a useful foil and occasional focus. Others have smaller focus but do just fine with those little moments, whether that means a dutiful Stuhlbarg or Lee (who can make a few lines seem fun even after over 200 appearances, the most appropriate person for a love letter to cinema). It drives an interesting mystery well enough to useful conclusions that run the expected gamut of emotion with a nice atmosphere and understanding from Scorsese and his crew that lands for those who desire something with a mostly consistent balance of first and second half to go with a game cast for a worthwhile feature for its crowd of cinema and beyond.

Overall, I give it 9 out of 10 stars.

The Departed.

Review #1544: The Departed.

Cast:
Leonardo DiCaprio (William "Billy" Costigan), Matt Damon (Colin Sullivan), Mark Wahlberg (Sean Dignam), Jack Nicholson (Francis "Frank" Costello), Martin Sheen (Capt. Oliver Queenan), Ray Winstone (Arnold French), Vera Farmiga (Dr. Madolyn Madden), Alec Baldwin (Capt. George Ellerby), Anthony Anderson (Trooper Brown), Kevin Corrigan (Sean Costigan), James Badge Dale (Trooper Barrigan), and David O'Hara (Patrick "Fitzy" Fitzgibbons) Directed by Martin Scorsese (#990 - Taxi Driver, #992 - The King of Comedy, #1276 - Mean Streets, #1463 - Raging Bull, and #1496 - Goodfellas)

Review:
"It's the only movie of mine with a plot."

There really is no such thing as too much of one director, so it only makes sense to cover another film of Martin Scorsese in yet another prime classic to represent another decade of work, with this being his 20th feature. The film is based on the Hong Kong film Infernal Affairs (2002), which dealt with infiltration into a Triad as the first of three films (with the other two being done in 2002 and 2003 respectively), and it has subsequently been remade in other countries like South Korea and Taiwan, with novelist/screenwriter William Monahan tapped to write and eventually Martin Scorsese to direct (citing his love of White Heat (1949) that the script reminded him of), which was his second remake of a previous work (the other being 1991's Cape Fear).

What we have here is a cat-and-mouse game of tremendous excellence, one that carries itself with great pacing (as done by the usual Scorsese collaborator in editor Thelma Schoonmaker) that makes a 151 minute tale with dual storylines come together with great stature and blazing skill that captures its aspects of crime splendidly while also having a great look upon identity and what it means in various degrees for others. DiCaprio rolls greatly in a panic-attack kind of performance, one that wraps himself in a world all too ready to consume one in power and lose their sense of self in their identity in society, balancing that line of being a tool for both sides with the precision and excellence we expect from someone as confident in pulling off that edge as he is. Damon has a similar challenge in a role that reflects greatly in the other side of calm adversarial power, one who just as much at the mercy of his masters as DiCaprio that desires to escape this part and attain more and more within vain effort. Wahlberg (chosen after others like Denis Leary and Ray Liotta could not take the role) does fine in basing a man of bruising authority with snappy righteous timing that counters along with the main duo or Sheen & Baldwin with the right sense of rough honesty. Nicholson took on the role (after first choice Al Pacino declined) after some prodding because he was looking to play a villainous role again (equating this role to the ultimate incarnation of evil), which was inspired by real-life gangster Whitey Bulger. He does quite well in portraying someone wrapped with so much power and command that shows all the hunger and paranoia that comes from trying to keep it in check, and he clearly seems to be having a good time weaving this role together with the time he has as a twisted sort of father figure to the two main leads. Sheen does alright here with resonating authority that only needs a few connective moments with DiCaprio to make it all come together, although I do admire one small sequence with Nicholson and him in their engagement of taunting the other. Winstone follows along terrifically, doing menace with interest that never wavers whether in the foreground or background. Farmiga goes along with careful touch, operating her moments shared with DiCaprio and Damon with countering grace and capability. Baldwin is generally interesting in those little moments shared with the actual investigation.

On the whole, I enjoyed the film because of what it shows about the push for trying to be something one is not that never seems used to spread out into overuse of violence or become just a show for hammy acting to take place. It is an enjoyable movie for all the nitty-gritty ways it goes through  its narrative with well enough talent on and behind the camera to elevate what could have been a standard crime film into something that grabs you every step of the way and never lets go in all the right ways. Tense, riveting, and always on the move towards something useful with a wide range of good actors, The Departed is a triumph for Scorsese, his cast, and his crew that all reaped the benefits of being the best of its year in 2006 with deserved stature.

Overall, I give it 10 out of 10 stars.

Goodfellas.

Review #1496: Goodfellas.

Cast: 

Robert De Niro (Jimmy Conway), Ray Liotta (Henry Hill), Joe Pesci (Tommy DeVito), Lorraine Bracco (Karen Hill), Paul Sorvino (Paulie Cicero), Frank Sivero (Frankie Carbone), Tony Darrow (Sonny Bunz), Frank Vincent (Billy Batts), Chuck Low (Morris Kessler), Frank DiLeo (Tuddy Cicero), Henny Youngman (Himself), Gina Mastrogiacomo (Janice Rossi), Catherine Scorsese (Tommy's mother), Charles Scorsese (Vinnie), Suzanne Shepard (Karen's mother), and Debi Mazar (Sandy) Directed by Martin Scorsese (#990 - Taxi Driver, #992 - The King of Comedy, #1276 - Mean Streets, and #1463 - Raging Bull)

Review: 

"You think you're doing something at the time, and that gets you through it. And maybe it changes over the years. A picture takes on a life of its own."

A great movie can come out of a little observation. In this case, a little bit of observation over the life of a mobster resulted in one of the best films of the 1990s, with others going farther in calling it one of the greatest ever made, with an influence that has reached across other media that took inspiration from its content and style, most notably with David Chase and his television series The Sopranos. The basis for the film is the 1985 non-fiction book Wiseguy: Life in a Mafia Family by Nicholas Pileggi, which was about the exploits of Mafia mobster-turned-informant Henry Hill over the course of 25 years, and the film would follow a majority of the beats covered by the book (aside from a few name changes and certain omissions, such as Hill's hustling while enlisted in the United States Army). Scorsese was first interested in the book while in production on The Color of Money (1986), liking its documentary-style writings of how the Mob worked while beginning it "like a gunshot and have it get faster from there". There is a natural way to how everything flows together in this film, where one feels at ease with time when viewing the life of these wiseguys, with a script (done by Scorsese and Pileggi) that had improvisation that one can see at key points in the film. For example, the "How am I funny?" sequence was actually based on Pesci's experience as a waiter serving an actual wiseguy in a restaurant, which was acted and rehearsed with Pesci and Liotta before being constructed by Scorsese from the transcripts (since this was not actually in the original script). Scorsese was inspired by Jules and Jim (1962) with its use of voiceovers, while deciding to do a mix of the traditional narrative that would start in the middle and move backward and forward. 

Although Hill was not directly involved with the film, De Niro talked to both him and Pileggi (who let them use research material not in the book) in preparation of the role from his walk to how he ate his food, while Liotta listened to tapes of Hill talking to Pileggi, which would be key in the narration in how dynamic it is to the story being told. This is a film with plenty of nuance that handles its subject with precise execution in its cast and direction that spring for several memorable moments mixed in with swift and clear-cut violence that make a fascinating look upon a unsavory-yet-captivating world of crime. It moves at an efficient pace that uses its 145 minutes to tell a well-cut story that has the classic Scorsese hallmarks of quick cuts alongside frantic style (in an attempt to show a "punk attitude", he stated) and key choices of music to go alongside key moments. Liotta is our focus (and voice) for the film, and he does a tremendous job with being our center of unflinching energy that draws us in as well to a certain lifestyle through his eyes with conviction. De Niro proves just as prepared, wrapped in relentless gravitas that carries the film with naturalness. The third leg of our trio is Pesci, who moves along with crazed unflinching energy that attracts us with that early question about a funny wiseguy that keeps you on your toes (the scene with him and C. Scorsese involving cutting a deer and a painting proves just as well in improvised morbid energy). Bracco goes along with the action with frenzied perceptive timing that carries the film with her own narration as someone who enters in the action and stays in that web of crime, even with such turbulent (but fascinating) chemistry with Liotta, such as the moment where she has him in bed with a gun on him. Sorvino rounds out the cast with a collected presence that has plenty of stature and coldness for one to fear and appreciate whenever on screen. The others in the cast (including real-life mobsters cast as extras) prove fine in lending presence and body language to the key moments of the film, which can lead to some tension or a bit of humor (including the famed one-liner comedian Youngman) that make the shifting from youth to adult crime for our lead all the more easier. It handles its moments of violence with cold-cut effienct, never shying from depicting the lifestyle it wants to show in all of its honesty (for a film at least) that runs the gamut of ambition, avarice, and paranoia in all of its unseemly glory. Three decades have only brightened the legacy of this film, an achievement for its cast and director in execution that has kept it in the public consciousness as a seminal crime film for the 1990s and beyond.

Overall, I give it 10 out of 10 stars.

Raging Bull.

Review #1463: Raging Bull.

Cast: 
Robert De Niro (Jake LaMotta), Cathy Moriarty (Vickie LaMotta), Joe Pesci (Joey LaMotta), Frank Vincent (Salvy Batts), Nicholas Colasanto (Tommy Como), Theresa Saldana (Lenore LaMotta), Mario Gallo (Mario), Frank Adonis (Patsy), Joseph Bono (Guido), Frank Topham (Toppy), and Lori Anne Flax (Irma LaMotta) Directed by Martin Scorsese (#990 - Taxi Driver and #992 - The King of Comedy, and #1276 - Mean Streets)

Review: 
"Movies touch our hearts and awaken our vision, and change the way we see things. They take us to other places, they open doors and minds. Movies are the memories of our life time, we need to keep them alive."

"I just can't fake acting. I know movies are an illusion, and maybe the first rule is to fake it, but not for me. I'm too curious. I want to deal with all the facts of the character, thin or fat."

It should only figure that one of the best films of the 1980s came about as a chance for Martin Scorsese to save his life and career and for Robert De Niro to have a soulfully devastating performance to lead a film of tremendous quality in their fourth collaboration together. This was the seventh film directed by Scorsese, with his previous effort in New York, New York (1977, a tribute to classic musicals) having been a failure with audiences that had led him to depression and an addiction to cocaine, which nearly led to his death. It was De Niro who had pushed for Scorsese to try and make a film about Jake LaMotta, who had written an memoir in 1970 called Raging Bull: My Story (which he said had a lot of heart despite not being a great book), which had depicted the noted rough fighter's life from youth to the end of fame that was comprised of moments such as his troubled childhood and struggles with the mafia and his own demons outside the ring. De Niro spent years trying to convince Scorsese to take up the project, since he was not a fan of boxing (or sports in general). Scorsese treated this film as if it could have been his last, and it would not prove to be the easiest of shoots for anyone, not particularly for its star or director. It's interesting to note the boxing sequences, which only last a fraction of time in a two-hour film and the fact that they were shot first over a period of ten weeks (having been designed on paper first and meant to be done over three weeks). The film was written by Paul Schrader and Mardik Martin, which went through a number of re-writes, with Scorsese and De Niro being soon tasked to do re-writes that were quite significant in molding the film's content, such as eliminating the depiction of LaMotta's father (it should be noted that Schrader's initial re-write, though thought to be potentially X-rated, was the one that had added Joey to the script) alongside the calm re-enactment sequence at the end from On the Waterfront. One great technique that helps in making this such a distinct boxing film is the way those scenes are shot - inside the ring, with distinct sounds that make for a raw and intense experience to view, particularly since the editing (done by Thelma Schoonmaker) cuts everything together with finesse to where one never gets lost in seeing this descent for 129 minutes.

For an actor who is tasked to play such a tormented man over the span of several years, De Niro sinks right into the part with no difficulty at all in an electrifying performance of the soul. This plays out whether when in the ring (having been trained by LaMotta and actually participating in three matches) or when confronting the people that know and love him with his jealousy and self-destructive tendencies as the film goes on and as he starts to wither down and grow old (having gained 60 pounds for the last half of the film) and he has to face his toughest opponent - trying to find redemption. One can't take their eyes off him and his seething performance that beats at you with a tremendous punch every step of the way. Pesci (known by Scorsese and De Niro because of his debut performance in The Death Collector four years prior) proves to be just as great in following along the action as one with plenty of raw spirit in keeping up with De Niro (with occasional confrontation) that make for captivating scenes, particularly with their last one together, where one tries to do a reconciliation, filled with quiet awkwardness to brilliance. Moriarty, making her film debut (thanks to Pesci), proves just as capable in her role, resourceful and knowing as the time goes by for the film. The rest of the cast prove just as well in filling the grimy world around the film, one that dares you in with a stark look from Michael Chapman in cinematography to go alongside tremendous ambition from Scorsese to show a man on the edge without any false sentiment or step. It seems obvious now to call it a masterpiece, although it had a gradual rise in reputation (having proved a fair hit with audiences) that is now considered one of Scorsese's best films (along with one of De Niro's best). With a stark devastating look and feel and a great director and trio at hand, you can't go wrong with this film, one that lands its punches everywhere in emotion.

Overall, I give it 10 out of 10 stars.

Mean Streets.

Review #1276: Mean Streets.

Cast: 
Harvey Keitel (Charlie Cappa), Robert De Niro (John "Johnny Boy" Civello), David Proval (Tony DeVienazo), Amy Robinson (Teresa Ronchelli), Richard Romanus (Michael Longo), Cesare Danova (Giovanni Cappa), George Memmoli (Joey), Martin Scorsese (Jimmy Shorts), David Carradine (Drunk) Directed by Martin Scorsese (#990 - Taxi Driver and #992 - The King of Comedy)

Review: 
"You don't make up for your sins in Church; you do it on the street; the rest is bullshit and you know it."

It is amazing sometimes to see where a director can go in their path from turning ambition (or someone else's ambition) into something worth being on screen. Scorsese developed a love for cinema from childhood while growing up in Little Italy in Manhattan (with his experiences living there inspiring this film's story), and he subsequently attended  New York University's Tisch School of the Arts, making a few short films before making his debut feature film with Who's That Knocking at My Door (1967), starring Zina Bethune and Keitel in his film debut, which dealt with Catholic guilt. This film also deals with guilt through the lens of a crime film. After serving as one of the editors for the acclaimed documentary Woodstock in 1970, he directed his second film Boxcar Bertha with producer Roger Corman two years later, he was encouraged by actor/director John Cassavetes to make something based on his own ideas, which led to this film (with Scorsese doing the story and co-writing the screenplay with Mardik Martin). Mean Streets was done in a period of 26 days, with Los Angeles being the primary location for all but six of those days (spent where the film was primarily set, New York). Incidentally, Corman offered to fund the film (which ultimately was made for around $500,000) at one point, albeit with an all-black cast. Scorsese found funding with tour producer Jonathan Taplin and eventual distribution from Warner Bros that meant he could do the film as he wanted.

Ultimately, this film is a testament to how someone can really make a film come alive with the right sense of passion and a dynamic cast behind it. It has endured for over four decades in part because of how much it still resonates as a crime drama with its dealings of guilt and sin in the streets. It surpasses its small budget in most areas alongside its surroundings to be something quite captivating in its style that captures plenty of grime through its 112 minute run-time without becoming overwhelming. It moves at its own pace with plenty of control that one could expect from a capable director who wants to make a story come alive without having distractions in the way. With Keitel and De Niro, one can't help but be interested in what happens next, both having an aura that is magnetic whenever either is on screen, the case being especially strong for the former. You can really see the conflict with Keitel pop out on screen without having to be spoonfed direction, where his ambitions and feelings hit their own sort of crossroads. De Niro is a wild fire that burns just as fast whenever he makes his impression, such as reacting to being called a "mook" in the middle of a friendly transaction that evolves into a friendly fistfight. The rest of the cast does just as well, with Robinson having a careful slice of chemistry with Keitel while also being quite watchable, and Proval and Romanus make for a good team with the others. In a film that doesn't have or need a clear hero or villain, the film more around with its own aims and aspirations, where the fights are more inward than anything (although its fistfight is pretty well done) and the spectacle is in how all the drama plays out. There are plenty of crime films to go around, but it doesn't mean that they can't still seem fresh to follow with, with this one seeming like a template for other films to follow (particularly with its use of period rock music). The film ends when and where it needs to end up while leaving its audience entertained and interested in discussing what they saw. It does fine with living up to expectations that one could expect from a director like Scorsese with his first major breakthrough, hitting most of its marks just fine. It aims for the real side of a life in the streets racked with guilt and crime and succeeds without compromise.

Overall, I give it 9 out of 10 stars.

The King of Comedy.

Review #992: The King of Comedy.

Cast: 
Robert De Niro (Rupert Pupkin), Jerry Lewis (Jerry Langford), Diahnne Abbott (Rita Keane), Sandra Bernhard (Masha), Tony Randall (Himself), Shelley Hack (Cathy Long), Ed Herlihy (Himself), Frederick de Cordova (Bert Thomas), Margo Winkler (The Receptionist), and Kim Chan (Jonno) Directed by Martin Scorsese (#990 - Taxi Driver)

Review: 
This is certainly an interesting black comedy film, in that it is a black comedy that doesn't invite itself for laughs, but it invites you to follow these strange but interesting characters while also feeling very relevant even after nearly 35 years since its release. When compared to Taxi Driver, one can see some similarities within the main character (both played by De Niro) in their loneliness, although their results definitely have a significant contrast (namely, one film has blood while the other doesn't); Scorsese stated this about the connection between the two characters: "Taxi Driver. Travis. Rupert. The isolated person. Is Rupert more violent than Travis? Maybe." De Niro undeniably pulls a great performance out of this aspiring (and deranged) character that reels you in with his passion and desire (as odd as that might seem). Lewis (in a role that was rejected by Johnny Carson) does a tremendous job as the beleaguered host who has an unquestionable subtle charm to him (even with all the things that happen around him). Bernhard pulls off a capably deranged performance, always managing to make you not take your eyes off and what offbeat thing she might be doing next. Abbott also does a fine job, having a naturally innocent charm to her that resonates well when paired with De Niro. For me, my favorite scene comes during the second half, with De Niro, Lewis and Bernhard acting together, involving some gum and cue cards which works because of how well each actor plays off each other and the way that the film plays with the circumstances and mood. The camera shots are also fairly fitting for the film's tone, where fantasy and reality not being particularly distinct from each other but also showing mayhem (such as the opening scene).

The rest of the cast are satisfactory in their roles, with my favorite being Herlihy (who had been the voice of Kraft Foods commercials for decades) and his richly distinctive voice. As stated before, there are some laughs, but the movie never really desires to let you absorb it because of how enclosed it seems with its dark aspects; one particular example is a scene where Lewis is accosted and told by an old lady that he "should only get cancer". It's a brief but useful scene in understanding this film, for better or for worse. It never strives to overstate itself nor focus on being just satire or thrilling. It blurs the line between fantasy and reality a few times throughout the movie (something that once again someone could compare to Taxi Driver), and it definitely has an interesting repel effect, with the ending also being an interesting point of discussion. It never goes for the jugular in laughter nor give you the satisfaction of seeing a character show their layers, but there is something about how it portrays the perspective of media culture and worship that certainly resonate even now. It shows an ugly side to the culture that without doubt leaves an indelible and unforgettable mark. It definitely is not a movie for everyone, but it definitely is a fine winner in my mind, laughter and all.

Happy to mark that this is the 100th film reviewed in 2017 on Movie Night, the fourth time that I've done at least 100 films since 2010.

Overall, I give it 8 out of 10 stars.

Taxi Driver.

Review #990: Taxi Driver.

Cast: 
Robert De Niro (Travis Bickle), Jodie Foster (Iris "Easy" Steensma), Harvey Keitel (Matthew "Sport" Higgins), Cybill Shepherd (Betsy), Albert Brooks (Tom), Leonard Harris (Senator Charles Palantine), Peter Boyle (Wizard), Harry Northup (Doughboy), and Norman Matlock (Charlie T) Directed by Martin Scorsese.

Review: 
It seems odd that it has taken so much time to cover a Martin Scorsese film, but it seems fitting to cover this one (his fifth overall movie), which has quite the reputation (it was awarded the Palme d'Or at the Cannes Film Festival while also being nominated for four Academy Awards), and it is easy for me to see why. The way that the film shows a look into the dark elements that make up New York (for the time it was made) along with the lonely world of an alienated (but always compelling to watch) main character played expertly by De Niro. There is just something about the way he speaks and his mannerisms that make him a character one could relate to, or at least be invested in his story, which always manages to be compelling, with numerous highlights (such as the famous "You talkin' to me?" scene, which serves to feed into how lonely this character is that still endures in pop culture to this day). Foster is quite effective in her role that only serves as part of the nightmare kind of world that this film sets itself in. Keitel is also fairly effective, having a brutal nature that makes the skin crawl without relying on over-the-top moments. Shepherd is probably the most normal character in the film, but she certainly has an important place while also being fairly charming, and her scenes with De Niro are fine. Brooks and Harris don't have much screen-time, but they certainly do make for an entertaining impression. The rest of the cast (including a short scene with Scorsese himself) do fairly effective jobs. The use of slow motion in some parts of the film certainly contributes to making this movie stand out amidst the grime and a good musical score by Bernard Herrmann (who had finished the music score the day before his death on December 24, 1975). The climax of the film (and the end scene that follows it) is the pinnacle of an already exceptional movie, with a look and feel that is as rapid as it is effective, with an ending that certainly lends itself to discussion. In any case, this is a capable thriller that certainly still endures even after forty years since its release.

As dedicated readers can tell, we are in the final stages of the countdown to the big pinnacle for Movie Night. Get ready for the rest of the batch to come soon.

Overall, I give it 10 out of 10 stars.

Movie Night: Life Itself.

Review #690: Life Itself.

Cast
Roger Ebert & Chaz Ebert, with Martin Scorsese, Ava DuVernay, Werner Herzog, Errol Morris, Ramin Bahrani, Gregory Nava, A.O. Scott, Marlene Siskel. Directed by Steve James.

Review
It is hard to express my feelings on this movie. I could simply say it is a great documentary, but to say that feels like an injustice to writing these reviews. Watching this documentary gave me an newer appreciation of films and the opinions that people have on them. We all have an opinion on a film, some just do it for a living. This movie made me wonder why I do these reviews. Do I do them because I love movies? How seriously should I take Movie Night? The answers to these questions do not change my opinion on the movie, but it is nice to have a documentary film that inspires a bit of thinking. Seeing Ebert and his family interact is my favorite part because seeing their interactions along with their emotions makes the movie more emotional, though the focus on Ebert's working relationship with Gene Siskel is a close second. The documentary offers a look into Ebert's life and when it ends we feel sad for the death of our focus, of our source (for some, anyway) of film criticism. I do remember watching Ebert interact with Roeper (the replacement after Siskel died) and I remember stumbling upon his review of North, and after he died it inspired me to make my own review. I highly recommend this documentary not just because it does a tremendous job at highlighting Ebert's life, but because it also manages to be a great look into what makes a person from their emotions to their personality.

Overall, I give it 10 out of 10 stars.

Movie Night: Shark Tale.

Review #164: Shark Tale.

Cast
Will Smith (Oscar), Robert De Niro (Don Lino), Renée Zellweger (Angie), Jack Black (Lenny), Angelina Jolie (Lola), Martin Scorsese (Sykes), Doug E. Doug (Bernie), and Ziggy Marley (Ernie) Directed by Vicky Jenson, Bibo Bergeron, and Rob Letterman.

Review
This film isn't really inspired, with animation that's decent but nothing special. The puns from Coral Cola to Katie Current get old fast with jokes that aren't as useful. The plot feels like something you find in a mobster film, but it isn't very useful in tone. Compared to Finding Nemo, this film isn't as fun or warming. This film has good voices from Smith, who like always makes any film worth something. This film is not as good as Shrek or...Kung Fu Panda, but at least it will entertain for 90 minutes (a running trend in animated films). This ends Part V of Dreamworks Animation Week. Stay tuned for Part VI...

Overall, I give it 6 out of 10 stars.