Category Archives: Leonardo DiCaprio

2025 Films, Action, Alana Haim, Benicio del Toro, Chase Infiniti, Crime Thriller, Leonardo DiCaprio, Paul Thomas Anderson, Regina Hall, Sean Penn, Teyana Taylor, Thriller, Tony Goldwyn

One Battle After Another-2025

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One Battle After Another-2025

Director Paul Thomas Anderson

Starring Leonardo DiCaprio, Sean Penn, Chase Infiniti

Scott’s Review #1,497

Reviewed October 20, 2025

Grade: A

In my opinion, one of the modern great directors, Paul Thomas Anderson has released One Battle After Another (2025), a film rich with thrills and relevance. Sought to be made for years, the film is inspired by the 1990 novel Vineland by Thomas Pynchon with some narratives by Anderson peppered in.

Undoubtedly, Anderson was influenced by the current state of the United States in terms of immigration issues and tyrancy in the ICE (United States Immigration and Customs Enforcement) organization.

While immigration is not a new hot button issue, the inhumanity heaved onto ‘illegal immigrants’ and some US citizens is current as well as powerful.

Additionally, a frightening tone of racism and ‘white power’ is an underlying theme of the film contrasting covert hatred by a group of white supremisists with the humanity of revolutionaries who attack the political system.

Therefore, the film has an overwhelming modern feel.

Otherwise, the breakneck twists and turns and action make One Battle After Another the crown jewel in storytelling fun and an Anderson offering that could easily be added to his top 5 of all time.

Events follow an ex-revolutionary explosive device expert, “Ghetto” Pat Calhoun / “Rocketman” / Bob Ferguson (Leonardo DiCaprio) who is forced back into his former combative lifestyle when a corrupt military officer pursues him and his daughter.

With new identies, they had assumed they could live a peaceful life of tranquility but they were in for a rude awakening.

Set in present times, the film begins fifteen years before events later in the story but with a clear linkage. This ensures the audience is invested in the characters especially in the latter half as we get to know them better.

While DiCaprio can never deliver a bad performance and firmly grips the lead role as the intelligent yet comically clumbsy Bob, other actors shine making One Battle After Another an ensemble piece dripping with award worthy performances and hefty accolades.

DiCaprio improvises his way through the script with stutters and stammering enveloping his character with endearing qualities like forgetting a vital password or falling off a roof. Nonetheless, he possesses sentimenal and introspective moments towards his life and teenaged daughter, Willa Ferguson / Charlene Calhoun, played by Chase Infiniti.

Infiniti is tremendous in what is her breakout role playing a mixed race girl attempting to lead an everyday life while having to pay for the crimes and mistakes of her parents.

Playing confident, yet scared and vulnerable, Infiniti is quite the find. Is she destined to follow in her parents footsteps?

Teyana Taylor is brutally talented as she plays Perfidia Beverly Hills, a tough as nails, take no prisoner, kick ass young woman known to tease and humiliate her prey strictly for laughs.

Regina Hall and Benicio del Toro leverage their kind hearted and supportive characters with emotional flare and some needed humor especially on the part of del Toro.

The standout, however is Sean Penn. Giving a bravura performance as the hated and racist Colonel Steven J. Lockjaw, a military officer who pursues the French 75, he sneers and pouts, never playing the character over the top or for laughs.

He truly believes he comes from a superior race while bedding the women he despises.

A three-way highway car chase scene nearly rivals classic sequences in The French Connection (1971) and The Getaway (1972). As three separate drivers points of views are featured along a hilly highway with deadly results the audience is treated to rear view mirror and reaction shots.

I honestly did not know what would happen next and was delighted at the outcome.

Hopefully, as the years go by One Battle After Another (2025) will be remembered for embracing different genres and delivering a powerhouse final product. With great acting, editing, storytelling, and action the film has got it all.

Add in a timely message and you’ve got yourself a gem.

#84 Favorite Film, 2019 Films, Al Pacino, Austin Butler, Brad Pitt, Brenda Vaccaro, Bruce Dern, Dakota Fanning, Damian Lewis, Danielle Harris, Drama, Emile Hirsch, Favorite Film of the Year, James Remar, Julia Butters, Kurt Russell, Lena Dunham, Leonardo DiCaprio, Lorenza Izzo, Luke Perry, Margaret Qualley, Margot Robbie, Michael Madsen, Mikey Madison, Quentin Tarantino, Rumer Willis, Scoot McNairy, Sydney Sweeney, Toni Basil, Top 100 Films, Top 250 Films, Walton Goggins

Once Upon a Time in Hollywood-2019

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Once Upon a Time in Hollywood-2019

Director Quentin Tarantino

Starring Leonardo DiCaprio, Brad Pitt, Margot Robbie

Top 250 Films #84

Scott’s Review #926

Reviewed August 1, 2019

Grade: A

Once Upon a Time in Hollywood (2019) is another brilliant offering by one of the most (deservedly) respected directors of the modern film era.

This film may be his most personal as it includes many cinematic references and immerses itself in the Hollywood lifestyle. Toned down considerably from the violence standard in his other films, the first half lays the groundwork for a startlingly good second half with every detail of utmost importance.

A bevy of riches awaits any viewer enthusiastically feasting their eyes on this film.

The time is 1969, as actor Rick Dalton (Leonardo DiCaprio) struggles to reinvent himself and revitalize his career in Hollywood amid a changing cinematic landscape.

Famous for a popular western television series from the 1950s, Bounty Law, a pursued film career has not taken off, and he is reduced to guest appearances as the villain, then considered throwaway roles, in other episodic series.

His stunt double and best friend, Cliff Booth (Brad Pitt), accompanies him almost everywhere, serving as both sidekick and errand boy.

Meanwhile, famous director Roman Polanski and his wife, actress Sharon Tate (played by Argot Robbie), have moved into the house next door, which Dalton hopes will help him revitalize his career aspirations.

As Tate goes about her daily life of running errands and watching her movies in the theater, she is visited by Charles Manson one day, looking for the former resident of her house.

Historical viewers are familiar with the subsequent events that unfolded in real life, as Tarantino presents a fictional and tantalizing version of the events.

The film’s length is two hours and thirty-nine minutes, quite robust but typical for a Tarantino production. Some may complain about the bloated running time, but the film never drags; instead, the director lays out all the pieces carefully like a fine chess game.

By the mid-point, all hell breaks loose with one of the most suspenseful and edge-of-your-seat scenes in film history. When Cliff drives a flirtatious young hippy hitchhiker, Pussycat (Margaret Qualley) to a range populated by Manson followers, he is in for the adventure of his life…..if he survives.

Once Upon a Time in Hollywood is an orgy of cinematic tidbits, featuring a myriad of clips from forgotten films of the late 1960s and popular songs from that era.

This is just the tip of the iceberg in greatness as Tarantino perfectly immerses the viewer into the time with fury and zest. Every set piece, costume, hairstyle, or car is flawlessly placed. Kraft macaroni and cheese, Velveeta cheese, and popular dog food from the period are featured.

Tarantino is a fan of cinema and makes cinema lovers fall in love with cinema all over again.

The cast is humongous, but each character is necessary and perfectly represented in roles large and small.

The haunting troupe of Manson followers, specifically Tex Watson (Austin Butler), Squeaky Fromme (Dakota Fanning), and Susan Atkins (Mikey Madison), are all real-life figures. They are foreboding, dangerous, and crucial to the story.

Al Pacino shines in the small but pivotal role of Schwarz (not Schwartz), Dalton’s agent, while Steve McQueen’s look-alike, Damian Lewis, on-screen for merely seconds, is memorable.

The list of cameo performances goes on and on and on, and the fun is wondering who may appear next.

Despite the incorporation of big-name stars in important minor roles, the best performances belong to DiCaprio and Pitt. DiCaprio’s best scene takes place alone in his trailer as the washed-up star botches his lines thanks to a hangover, causing a delay in filming.

He abuses himself into nailing the scene, receiving kudos all around, while becoming teary-eyed after a compliment from a young actress.

Pitt has never given a better performance than he does as Cliff, sharing his best scenes with his adorable dog Brandi and with DiCaprio.

Who can ever forget his chest-baring rooftop scene?

Quentin Tarantino scores again with a bombastic and flawless picture, his ninth release. Rumored to retire after his tenth film, one can hardly fathom the reality of that statement. Hismovis can be watched and watched again, continuously absorbing new and noteworthy details of rich texture.

Once Upon a Time in Hollywood (2019) easily joins the ranks of great works, not just of the director’s catalog, but of all time.

Oscar Nominations: 2 wins-Best Picture, Best Director-Quentin Tarantino, Best Actor-Leonardo DiCaprio, Best Supporting Actor-Brad Pitt (won), Best Original Screenplay, Best Sound Editing, Best Sound Mixing, Best Production Design (won), Best Cinematography, Best Costume Design

#116 Favorite Film, 2012 Films, Amber Tamblyn, Bruce Dern, Christoph Waltz, Don Johnson, Favorite Film of the Year, Franco Nero, James Parks, James Remar, Jamie Foxx, Jonah Hill, Kerry Washington, Leonardo DiCaprio, Michael Parks, Quentin Tarantino, Robert Carradine, Russ Tamblyn, Samuel L. Jackson, Tom Savini, Tom Wopat, Top 250 Films, Walton Goggins, Western

Django Unchained-2012

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Django Unchained-2012

Director Quentin Tarantino

Starring Jamie Foxx, Christoph Waltz

Top 250 Films #116

Scott’s Review #699

Reviewed November 26, 2017

Grade: A

Quentin Tarantino, the brilliant filmmaker, can do very little wrong in my opinion, and he releases yet another masterpiece with 2012’s Django Unchained, a western story centering around the delicate subject matter of slavery.

As with several other talented director’s stories, the main focal point here is a revenge-driven tale with plenty of bloody scenes and stylistic ferociousness, making Django Unchained yet another masterpiece in the Tarantino collection.

Certainly not for the faint of heart, the film will please fans of film creativity and artistic achievement.

As with many Tarantino films a stellar cast is used and each actor cast to perfection- it seems almost every actor in Hollywood is dying to appear in the director’s films- this time Jamie Foxx, Christoph Waltz, Kerry Washington, Leonardo DiCaprio, and Samuel L. Jackson are the lucky ones, all featured in prominent roles- not surprisingly the acting is top-notch.

An interesting fact to note is that whoever appears in a Tarantino film seems to be having the time of their lives- what creative freedom and interesting material to experience.

A comparable director to Tarantino- as far as recruiting fine actors- is Robert Altman- also tremendously popular with talent.

The saga begins with clear Western flair as Django Freeman (Foxx) is led through the scorching heat of Texas with a group of other black slaves, presumably, to be sold by their abusive white captors- the time is 1858, and the abolition of slavery has not yet occurred the Civil War is still two years away.

Doctor King Schultz (Waltz), a former dentist and current bounty hunter, is on a mission to find and kill the Brittle brothers and realizes that Django can help him find the men.

To complicate matters, Django has been separated from his wife Broomhilda (Washington) and vows to find her and avenge her abductors.

As circumstances lead Schultz and Django to a vast Tennessee estate, the duo becomes business partners and friends. The race to rescue Broomhilda takes the pair to sunny (and equally hot) Mississippi- the home of vicious Calvin Candie (DiCaprio) and his dreaded “Candyland”.

The crackling heat and the atmospheric nature of Django Unchained combined with the revenge theme make the film an immeasurable success.

An ode to spaghetti westerns of yesteryear, the film incorporates similar music and grit so that the result is a modernized version of those films, with lots more blood and violence.

Slavery is a tough subject matter to tackle, especially when members of the Ku Klux Klan are featured, but Tarantino does so effortlessly, and as Django gains revenge on his tormentors, there is major audience satisfaction to be enjoyed.

The indignities and downright abuse that several black characters suffer can be quite tough to sit through.

The climactic dinner scene in Mississippi is splendid and the best sequence of the film. Schultz and Django dine with Calvin at his spectacular mansion. Calvin’s sinister and loyal house slave (Jackson) suspects a devious plan is about to be hatched and a vicious shoot-out erupts between the parties involved.

The ingenious and long sequence is a cat-and-mouse affair with all of the characters carefully tiptoeing around the others in fear of being revealed or discovered as fakes.

The scene is exceptional in its craft as we watch the characters dine on delectable food and drink, all the while motivations bubble under the surface.

Django Unchained is not for film-goers seeking either a linear story or a mainstream piece of blockbuster movie-making-Tarantino is not a typical Hollywood guy.

The film is exceptionally carved and constructed in a way that challenges the viewer to endure what some of the characters (specifically Django and Broomhilda) are made to go through. This discomfort and horror make the inevitable revenge all the more sweet and satisfying.

Quentin Tarantino has created masterpiece after masterpiece throughout his filmography of work.

Proudly, I can herald 2012’s  Django Unchained as one of the unique director’s very finest and will be sure to be remembered decades and decades in the future as being able to challenge, provoke thought, and satisfy legions of his fans.

Oscar Nominations: 2 wins-Best Picture, Best Supporting Actor-Christoph Waltz (won), Best Original Screenplay (won), Best Sound Editing, Best Cinematography

#160 Favorite Film, 1997 Films, Anne Fletcher, Best Picture Oscar Winners, Billy Zane, Disaster, Epic, Gloria Stuart, James Cameron, Kate Winslet, Kathy Bates, Leonardo DiCaprio, Romantic Drama, Top 250 Films

Titanic-1997

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Titanic-1997

Director James Cameron

Starring Leonardo DiCaprio, Kate Winslet

Top 250 Films #160

Scott’s Review #327

1181461

Reviewed January 6, 2016

Grade: A

1997’s Titanic is a sweeping, gorgeous epic, directed by James Cameron, that is perfection at every level. This film has it all: romance, disaster, gorgeous art direction, and flawless attention to detail.

The film will make you laugh, cry, and fall in love with the characters, despite knowing the inevitable outcome. The film is based on the real-life sinking of the RMS Titanic in 1912 after the ship tragically collided with an iceberg.

I have witnessed this film be derided for being a “chick flick” or too “sappy”, but I vehemently disagree and feel it is a classic for the ages.

Titanic successfully re-invented the Hollywood epic.

Jack Dawkins (Leonardo DiCaprio) is a penniless artist who meets high-class socialite Rose DeWitt (Kate Winslet) aboard the luxurious Titanic, headed from the coast of England to the United States on its maiden voyage.

Rose is engaged to cagey Cal Hockley (Billy Zane).

Depressed, Rose contemplates diving overboard to her death, but Jack saves her and convinces her otherwise. They spend time together and he draws her portrait. As their romance blossoms, Cal catches on and plots revenge.

In the mix is Rose’s snobbish mother, Ruth, played by Frances Fisher.

The main theme of the film is social class and the difference that separates the haves from the have-nots.

James Cameron desired perfection from this film and he sure got what he wanted. Every detail of Titanic is flawless and historically accurate, from the dining room silverware to the costumes to the set pieces barely visible in the background.

Cameron even had a replica of the original Titanic built for filming purposes- with limitations, but what a vast undertaking this must have been. That, along with the smoldering romance between Jack and Rose, is what makes Titanic one of my favorite films.

Two fantastic scenes are when Jack is taken under the wing of Molly Brown, played by Kathy Bates. Molly is not the snob that many of the other upper class is, and lends Jack a tuxedo so that he will look dapper for Rose. She also tenderly teaches him the appropriate way to use silverware.

Tragically, the other scene is more melancholy- a gorgeous classical piece plays in the background as the vast ship is engulfed in water and slowly sinks, causing many deaths.

At well over three hours in length, the conclusion of the film is quite sprawling- and one has the feeling of being aboard the ship. By this time I was invested in the characters, both lead and supporting and the tragedy that ensues is both a marvel and heart-wrenching.

Titanic (1997) is a film that simply must be viewed on the big screen for full effect, and is a timeless masterpiece that has aged perfectly.

Oscar Nominations: 10 wins-Best Picture (won), Best Director-James Cameron (won), Best Actress-Kate Winslet, Best Supporting Actress-Gloria Stuart, Best Original Dramatic Score (won), Best Original Song-“My Heart Will Go On”, Best Sound Effects Editing (won), Best Sound (won), Best Art Direction (won), Best Cinematography (won), Best Makeup, Best Costume Design (won), Best Film Editing (won), Best Visual Effects (won)

2023 Films, Brendan Fraser, Crime Drama, Drama, Epic, Jesse Plemons, John Lithgow, Leonardo DiCaprio, Lily Gladstone, Martin Scorsese, Robert De Niro, Western

Killers of the Flower Moon-2023

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Killers of the Flower Moon-2023

Director Martin Scorsese

Starring Leonardo DiCaprio, Robert De Niro, Lily Gladstone

Scott’s Review #1,406

Reviewed October 22, 2023

Grade: A

One great thing about legendary director Martin Scorsese, and there are plenty I could mention, is that he continues to challenge his audience with his films well into his eighties.

Any aspiring filmmaker, or any cinephile, should study his films.

Before I knew too much about his new picture, Killers of the Flower Moon (2023) I knew I wanted to see it because I trust Scorsese as a director.

His most recent films, The Wolf of Wall Street (2013) and The Irishman (2019) are not easy watches but the payoff is tremendous.

Scorsese is not the kind of filmmaker to create feel-good fluff but leaves the audience pondering what they’ve seen long after leaving the theater.

Leonardo DiCaprio and Robert De Niro, two frequent Scorsese collaborators and great actors appear in Killers of the Flower Moon assuring something of quality.

Be forewarned that at an enormous running time of three hours and twenty-six minutes, the film is long! Like a fine wine, it took me about an hour or so to immerse myself in the texture and storytelling but this only defends the richness of the experience.

Based on David Grann’s broadly lauded best-selling book, “Killers of the Flower Moon” 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.

In 1918, Ernest Burkhart (DiCaprio) returns from World War I to his uncle, rancher William “King” Hale (De Niro), who lives with Ernest’s brother Byron (Scott Sheperd) on the reservation. Hale pretends to be a friendly supporter of the Osage people, but he secretly schemes to murder them and steal their wealth.

Lily Gladstone who has starred mainly in independent films makes her breakthrough performance as Mollie Burkhart, a wealthy Native American woman who is the love interest of Ernest.

The cast is unwieldy and features stalwarts like Brendan Fraser and John Lithgow in small roles but the notable mentions are DiCaprio, De Niro, and Gladstone.

Each scene between the three crackles with phenomenal acting and attention to their craft. Gladstone quietly yet expressively emotes her character’s feelings and emotions. Mollie is a proud woman but not gullible as she presents a strong feminist quality.

Her scenes with DiCaprio resonate the most. His character of Ernest is complicated and possesses good and bad qualities. As Mollie professes early on he is handsome but not too smart.

Her statement comes further into play at the end of the film.

Amid the schemes and murders Killers of the Flower Moon embraces a sweet romantic story between Ernest and Mollie. They love each other and he adores her and their children but is it ultimately enough?

Any aspiring actors should hone in on scenes between DiCaprio and De Niro for inspiration. Each scene and line within the scene is delivered with naturalness. Carefully yet authentically executed their conversations are mesmerizing.

De Niro reportedly and unsurprisingly modeled his character after the callous and dastardly reality star turned-politician Donald Trump.  Pretending to be well-intentioned but instead bullying and scheming his way to fortune by bamboozling the weak, De Niro channels his inner asshole with precision.

I immediately recognized what the actor was going for concerning the hateful politician.

In what only enhances the film, Scorsese appears at the beginning and end with impassioned moments about the importance of telling this story.

Filmed in Oklahoma, many sequences of open land, fields, streams, and other natural elements appear. Scorsese often uses the same film crews which enhances the authenticity.

The cinematography is filled with early 1900s facets and real Native American people are featured. The colors and tribal outfits offer culture and a glimpse into their way of life.

Killers of the Flower Moon (2023) is an important film because it teaches and reminds the audience that oppression and tragedy have existed in the United States and still do today.

The telling of one group of people is sound and a stark reminder of how many more stories exist each needing the help of a great filmmaker to bring exposure.

Scorsese does it again.

Oscar Nominations: Best Picture, Best Director-Martin Scorsese, Best Actress-Lily Gladstone, Best Supporting Actor-Robert De Niro, Best Film Editing, Best Cinematography, Best Costume Design, Best Production Design, Best Original Score, Best Original Song-“Wahzhazhe (A Song For My People)

2002 Films, Brendan Gleeson, Cameron Diaz, Crime Drama, Daniel Day-Lewis, David Hemmings, Drama, Epic, Jim Broadbent, John C. Reilly, Kenneth Lonergan, Leonardo DiCaprio, Liam Neeson, Martin Scorsese, Stephen Graham

Gangs of New York-2002

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Gangs of New York-2002

Director Martin Scorsese

Starring Leonardo Dicaprio, Daniel Day-Lewis, Cameron Diaz

Scott’s Review #1,327

Reviewed December 26, 2022

Grade: A-

Gangs of New York (2002) is an extremely violent and bloody epic by director Martin Scorsese that is an exquisite piece of filmmaking nearly flawless in every way except maybe its length and story.

On the one hand, it’s a beautifully choreographed and filmed crime drama with perfect costumes, art direction, and cinematography. Still, on the other, it’s tedious and lengthy, especially during the final hour, with choppy storytelling and seemingly one long continuous battle.

Scorsese being Scorsese and knowing his way around crafting an excellent film or two left me ruminating over the cinema and pondering whether I’d ever need to see it again.

Usually, I’m all in when it comes to repeated viewings of his films,  especially Raging Bull (1980) or Goodfellas (1990) but with Gangs of New York, the sobering almost three hours running time and the non-stop bloodshed gives me pause.

It’s not a mafia film but it is an Irish-centered crime drama harkening back to the mid-1800s so there are historical lessons to be exposed to. Familiar with most of his films there are good guys, bad guys, and a criminal, feuding overtone, and lots of grit and grime to plow through.

I can’t say it’s one of Scorsese’s top 10 but it’s a grandiose, epic-length behemoth that features a host of top-name talent but there are nonetheless aspects that leave it slightly beneath his most famous works.

But that’s nearly akin to comparing the works of Beethoven, Rembrandt, or other geniuses of one art form or another. Anyone respecting Scorsese or appreciating good cinema should see Gangs of New York.

Amsterdam Vallon (Leonardo DiCaprio) is a young Irish immigrant released from prison. He returns to the Five Points seeking revenge against his father’s killer, William Cutting (Daniel Day-Lewis) also known as ‘The Butcher’, a brutal and powerful anti-immigrant gang leader.

He knows that revenge can only be attained by infiltrating Cutting’s inner circle. Amsterdam’s journey became a fight for personal survival and to find a place for the Irish people in 1860’s New York.

The most delicious part of the film is the rivalry between Amsterdam and ‘The Butcher’. DiCaprio and Day-Lewis make powerful sparring partners and as much as Amsterdam’s motivations are admirable it’s Day-Lewis who has the more interesting character.

To no one’s surprise, the actor channels his inner dictator as he method acts throughout the film. To no one’s additional surprise, he steals the show away from other tremendous actors like DiCaprio, Jim Broadbent, and John C. Reilly in supporting roles.

However, I need to ask why Day-Lewis was selected for the Lead Actor Oscar category when he is a supporting one.

Worthy of mention is Cameron Diaz who, for once, plays the dramatic role of a pickpocket. Typically cast in comedic roles she shows she has acting chops.

The story gets a bit wayward about halfway through and I stopped giving the story much credence about three-quarters of the way through. It’s as if Scorsese had frenetic schizophrenia moments with tons of good ideas but none of them formulating a cohesive plot.

The New York City setting is a favorite of mine especially pre-civil war and well before the NYC of modern times even existed. The prevalence of Canal Street and various others make this northeasterner heavily invested in geography.

Finally, to bring it all full circle, Gangs of New York powerfully reminds the audience of the age-old topic of immigration and how those who have citizenship too often oppose those who desire to enter a country they once also did.

‘The Butcher’s’ brutal opposition is a sad reminder of how the United States of America was never united and the senseless violence towards immigrants is never-ending.

Gangs of New York (2002) may not be Scorsese’s best work but even on his worst day, he creates a film worth watching. Mixing toxic masculinity, and revenge with a crazy story he succeeds where other directors might fail by providing compelling filmmaking with all the fixings.

Just don’t get too hung up on the story points.

Oscar Nominations: Best Picture, Best Director-Martin Scorsese, Best Actor-Daniel Day-Lewis, Best Original Screenplay, Best Art Direction, Best Cinematography, Best Costume Design, Best Film Editing, Best Original Song-“The Hands That Built America”, Best Sound

2021 Films, Adam McKay, Ariana Grande, Cate Blanchett, Chris Evans, Comedy, Dark Comedy, Himesh Patel, Jennifer Lawrence, Jonah Hill, Leonardo DiCaprio, Liev Schreiber, Mark Rylance, Melanie Lynskey, Meryl Streep, Michael Chiklis, Paul Guilfoyle, Rob Morgan, Ron Perlman, Sarah Silverman, Satire, Science Fiction, Timothée Chalamet, Tyler Perry

Don’t Look Up-2021

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Don’t Look Up-2021

Director Adam McKay

Starring Leonardo DiCaprio, Jennifer Lawrence, Meryl Streep

Scott’s Review #1,220

Reviewed January 16, 2022

Grade: A

In the times of the COVID pandemic, ‘water cooler’ films have ceased to exist. Once, employees would gather around the water cooler to discuss a current film or television show. These days, with many working from home, this activity has waned.

Too bad, because Don’t Look Up (2021) is one of those films.

It was not on my radar until a flurry of scuttlebutt and controversy brought the film to the forefront of my mind and many others. Super topical and mired in irony, everyone should see it, but those who need to won’t.

It’s a brazen and in-your-face look at how science and facts are dismissed by some who can’t see the forest for the trees, or in this case, a giant comet speeding towards planet Earth. In the year 2021, amid controversy over COVID-19, including the prevention of mask-wearing and vaccinations, Don’t Look Up portrays those as simply stupid.

As they are.

Those viewers who are conspiracy theorists, Trump supporters, or I daresay even too self-absorbed to look past their own lives are the ones who should see the film the most. You will be mocked and used as fodder for the entertainment of the more intelligent species of human beings.

But perhaps learn a thing or two?

Led by director Adam McKay, famous for satirical works such as 2015’s The Big Short, he satirizes the current state of worldly affairs masterfully, using political comparisons and the world-weary science versus non-science approach.

McKay also writes and produces.

He enlists an all-star cast who were chomping at the bit to be part of his relevant and brilliant project. Leonardo DiCaprio, Jennifer Lawrence, Meryl Streep, Mark Ryland, and Cate Blanchett are just a handful of participating stars.

Kate Dibiasky (Jennifer Lawrence) is an astronomy graduate student who, along with her professor, Doctor Randall Mindy (Leonardo DiCaprio), makes a discovery of a comet on a collision course with Earth. It is expected to arrive within six months and destroy most of the planet.

They are shocked and dismayed when their attempts to get anyone to pay any attention are hijacked by the media and the President of the United States of America, President Orlean (Streep). Instead, folks in high power attempt to use the ‘story’ for either ratings or political gain.

With the help of Doctor Oglethorpe (Rob Morgan), Kate and Randall embark on a media tour that takes them to the airwaves of The Daily Rip, an upbeat morning show hosted by Brie (Cate Blanchett) and Jack (Tyler Perry). While Randall embarks on an affair with Brie, the scientists attempt to gain the attention of the social media-obsessed public before it’s too late.

As the title states, look up?!

President Orlean and her psychopathic son, and Chief of Staff, Jason (Jonah Hill), are patterned after former President Donald J. Trump and his son. Their nastiness and dismissive attitude, driven solely by personal gain, are despicable.

Hysterically and satisfying, they each get their proper comeuppance.

Orlean’s demise at the end of the film is particularly satisfying. Stay post-credits for this treat.

Don’t Look Up is not a conventional film- it’s better than that. Its special sauce is its powerful message and reassurance for viewers to not take good old-fashioned common sense for granted. Despite the naysayers, the use of one’s brain is a valuable commodity.

The urgency of the matter is not meant to be taken for granted, but there are enough comedic elements to classify it as such- a dark comedy.

DiCaprio is terrific in the lead role. Nervous and struggling to express himself, his frustration is palpable as he tries to warn the world of impending doom. The actor can play any character, and it’s great seeing him add a sexy, middle-aged nerd to his repertoire.

Lawrence is a killer. Her character has no filter and is known to burst into rage, making her outbursts particularly engaging. Kate will call an idiot an idiot. Her outburst at the President is a remarkably terrific scene.

Despite the laughter, Don’t Look Up (2021) sends a dire message. It mirrors the current times and what trouble we are in.

The grim final sequence, when Randall, Kate, and family sit around the dinner table enjoying a Thanksgiving-style meal, is also a reminder to keep loved ones close and treasure every moment.

Oscar Nominations: Best Picture, Best Original Screenplay, Best Film Editing, Best Original Score

2011 Films, Adam Driver, Armie Hammer, Biography, Clint Eastwood, Denis O'Hare, Dermot Mulroney, Drama, Jeffrey Donovan, Jessica Hecht, Josh Hamilton, Josh Lucas, Judi Dench, Kaitlyn Dever, Lea Thompson, Leonardo DiCaprio, LGBTQ+ Drama, LGBTQ+ Films, Naomi Watts, Stephen Root

J. Edgar-2011

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J. Edgar-2011

Director Clint Eastwood

Starring Leonardo DiCaprio, Armie Hammer, Naomi Watts

Scott’s Review #1,099

Reviewed January 12, 2021

Grade: A

When director Clint Eastwood and actor Leonardo DiCaprio align, exceptional things can happen. This is evidenced by J. Edgar (2011), a compelling and well-constructed drama with a biographical and character-driven focus.

One gets inside the head and psyche of the title character, J. Edgar Hoover, the head of the Federal Bureau of Investigations, with DiCaprio playing him flawlessly.

The film is left-of-center, surprising for the mainstream director, though his film-making style is familiar. Eastwood does what he does best by constructing a slick and “Hollywood” experience.

There are not daring camera angles or unique uses of light that Stanley Kubrick might use.  He creates a steady affair that will appeal to the American heartland, getting butts to the movie theater on his name alone.

The film opens in 1919 when a young Hoover (DiCaprio) is tasked with purging radicals from the United States and obtaining their secrets, something he’d carry with him for decades. He meets a new Secretary, Helen Gandy (Naomi Watts), whom he makes an awkward pass and an even more awkward marriage proposal.

She refuses, and they become professional and personal allies.

The story then plods along with historical stops through the decades like the Lindbergh baby kidnapping, Martin Luther King Jr., and Richard Nixon.

Hoover is always involved in these escapades.

Hoover, who served as the head of the bureau from 1924 until he died in 1972, was a powerful and ruthless man.

Eastwood carefully dissects him, professionally and personally. He never married, lived with his mother, traveled, and enjoyed dinners with one man who in death, bequeathed his estate.

You do the math.

He was a gay man when one couldn’t be an openly gay man. Thus, he is conflicted, and Eastwood does a great job of showing the demons he wrestles with.

The relationship between Hoover and lawyer, Clyde Tolson (Armie Hammer) is my favorite part of J. Edgar because it’s interesting and humanistic.

DiCaprio and Hammer give outstanding performances with flawless chemistry and charisma.

When Hoover professes his love for Tolson and quickly recants his statement then professes love for an actress, we view his turmoil. He loves Tolson but cannot bear to accept it even though it would free him from his chains.

Despite the tender nature of the sequence above or that his mother was a traditional, no-nonsense, shrew, Hoover is not portrayed as a hero. He was a complicated and damaged man and Eastwood hits this point home.

He blackmailed Martin Luther King Jr., kept sexual secrets on several Hollywood stars, and participated in various abuses of power.

The film does admit that the director also instituted fingerprinting and forensic measures that reduced crime.

Those who desire a straightforward lesson in history may be slightly perturbed by the focus on Hoover’s personal life. Eastwood could have easily made Hoover’s career the only facet of the production-enough material that exists for this.

Instead, we get to see the inner workings of the man. Kudos for this.

Dustin Lance Black, who wrote Milk (2008), a portrait of a gay man, is back at the helm serving as a screenwriter. But the two films are not modeled after one another. They are very different animals.

While Milk celebrates a man refusing to deny who he and others are, demanding their just civil rights, J. Edgar provides the narrative of a man fleeing from who he is.

Offering a rich and complex biography of a tortured man, the audience is exposed to a person wrestling with inner turmoil. Hoover was a famous man, but the film could easily represent those thousands of men who could not bring themselves to accept who they were.

The largest praise goes to DiCaprio who makes us sympathize, pity, and admire the complexities of his character.

J. Edgar (2011) hits a grand slam.

2019 Films, Biography, Clint Eastwood, Drama, Jon Hamm, Jonah Hill, Kathy Bates, Leonardo DiCaprio, Olivia Wilde, Paul Walter Hauser, Sam Rockwell, Wayne Duvall

Richard Jewell-2019

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Richard Jewell-2019

Director Clint Eastwood

Starring Paul Walter Hauser, Sam Rockwell, Kathy Bates

Scott’s Review #1,035

Reviewed June 19, 2020

Grade: B

With most Clint Eastwood films, especially in the latter part of his career, one should expect a mainstream story with a conservative edge. The man has lost his touch with age, unlike greats like Martin Scorsese.

This may not always make for the most cutting-edge cinematic experience, but the results can still be compelling.

Richard Jewell (2019) was not on my radar, but for the last minute, a surprising Oscar nomination for Kathy Bates.

I am still smarting that she presumably took the last spot over the snubbed Jennifer Lopez (Hustlers-2019).

But I digress.

As anticipated, the project has a predictable edge and a safe feel, Eastwood sending a nasty note to the media and the FBI shaming them for their corruption and ineptness.

The biography, centering around the Centennial Olympic Park bombing and its aftermath during the 1996 Summer Olympic Games in Atlanta, Georgia, tells the story in a nicely paced way but feels light, pulling too much of a right-wing slant.

Lead actor Paul Walter Hauser is the standout of the film, bringing empathy and heroism to his portrayal of the one and only Richard Jewell.

Our title character is an overweight, average-looking man who lives with his mother in a modest apartment in Georgia. He works as a supply clerk in a small law firm where he meets arrogant attorney Watson Bryant (Rockwell).

They bond over video games and become fast friends.

The time is 1986.

Jewell, aspiring to become a police officer, lands a job as a security guard at Piedmont College, where he is subsequently fired for overstepping his grounds. Finally, he begins a job running security for a concert series near the Olympic Games.

He has a keen eye for law enforcement and is passionate about doing his job well.

Hauser, who had supporting roles in I, Tonya (2017) and in BlacKkKlansman (2018), has reached his breakout role.  Hauser makes the character likable and loyal. Law and order are his passions, and he eats, sleeps, and breathes life.

The actor makes it clear to the audience that Richard is not dumb. He is brilliant but has not been handed an easy life. The relationship with his mother is touching, and he genuinely wants to protect those whom he serves.

As far as the supporting roles go, Rockwell is fantastic as Watson, who ultimately defends Richard against the FBI. With wit, sarcasm, and outrage, his passion comes across on screen as a gruff but loyal friend.

Other big-name stars are not as lucky with their roles.

Jon Hamm plays FBI Agent Tom Shaw, a made-up character who wants to railroad Richard at all costs. He tricks Richard into confessing, which he then records. Olivia Wilde is Kathy Scruggs, an unpleasant journalist who will trade sex for stories.

The character is unlikable, and rumors abound that the writing is sharply embellished. Both Hamm and Wilde suffer from one-note characters.

Let’s discuss Kathy Bates’s performance.

Bates is a legendary actress and well-regarded. In the film, her best role is that of the maniacal Annie Wilkes in Misery (1990). Over the past few years, she has brightened the small screen with daring and unique roles on American Horror Story. Her role as the sympathetic and kindly Bobi Jewell is not one of her best.

There is nothing wrong with her performance, but the character never has a big, memorable scene.

Unclear is the historical accuracy of the story, and my hunch is that liberties could offer good drama. Inexplicable is the omission of anything related to the real bomber, who is never mentioned.

What were his motivations? Whatever happened to him? Viewers can conduct their research, but a notable omission is not including this.

The story only centers around Richard’s accusers and attempted railroading simply because he fits the profile of a bomber. The film could have gone further.

Also, viewers are left with no knowledge that Richard traditionally put a rose on one of the bombing victims’ graves or other niceties that could have been included.

Why did Eastwood need to hammer home the point that Richard was fretting about the perception that he may have been gay? True or false the point feels like a homophobic tidbit thrown in to appeal to a likely redneck audience.

Richard Jewell (2019) will not appear on Eastwood’s “greatest hits” of top films or even top 10 lists. Mystic River (2003) and Million Dollar Baby (2004) would get my votes for “best of” the year.

The film is only a slightly above-average biography of a falsely accused man who eventually gains justice. The spin is a politically conservative one, portraying the main characters as heroes who meet unfortunate circumstances.

Oscar Nominations: Best Supporting Actress- Kathy Bates

2008 Films, David Harbour, Drama, Dylan Baker, Kate Winslet, Kathryn Hahn, Kathy Bates, Kristen Connolly, Leonardo DiCaprio, Marin Ireland, Michael Shannon, Romantic Drama, Sam Mendes, Zoe Kazan

Revolutionary Road-2008

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Revolutionary Road-2008

Director Sam Mendes

Starring Leonardo DiCaprio, Kate Winslet

Scott’s Review #598

Reviewed January 10, 2017

Grade: A

Revolutionary Road (2008) is an outstanding film- what superior, human, raw acting by stars Leonardo DiCaprio and Kate Winslet.

The duo reunites in film over ten years after the monstrous success of Titanic (1997).

The trailers might lead one to believe that this film is a romantic comedy or some type of love story- it is a love story, but a very real, dark one.

Both characters are flawed.

Set in affluent New England, somewhere in Connecticut to be precise, April and Frank seemingly have it all. He is a successful doctor, and she is the perfect housewife, they live a happy existence free of problems- or do they?

Slowly, the audience sees their lives spin out of control and varying emotions between the pair emerge to the surface.

Great supporting turns by Kathy Bates and Michael Shannon as characters presenting roadblocks to April and Frank’s happiness.

If you are looking for a film with true, gritty, layered acting, this is it. Revolutionary Road (2008) is a much more complex film than the previews would allow you to think.

It shows the depth of DiCaprio’s and Winslet’s acting ability. Some might feel it is a bit slow-moving, but the payoff is worth it.

Oscar Nominations: Best Supporting Actor-Michael Shannon, Best Art Direction, Best Costume Design

2010 Films, Ben Kingsley, Bree Elrod, Emily Mortimer, Jackie Earle Haley, John Carroll Lynch, Leonardo DiCaprio, Mark Ruffalo, Martin Scorsese, Max von Sydow, Michelle Williams, Patricia Clarkson, Robin Bartlett, Ted Levine, Thriller

Shutter Island-2010

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Shutter Island-2010

Director Martin Scorsese

Starring Leonardo DiCaprio

Scott’s Review #567

Reviewed December 27, 2016

Grade: A-

Shutter Island (2010) is a great, psychological thriller, that being a Scorsese film, I had high expectations for. Lo and behold, I was not disappointed in the slightest.

Scorsese has a knack for making taut films, very violent, and with an edge. This film does not have the gore nor the blood that some of his other films have- especially since the subject matter is not mafia-related.

After Teddy Daniels (DiCaprio), a World War II veteran, turned U.S. Marshall investigates the disappearance of a female patient at a local psychiatric hospital, the case develops unforeseen layers.

The time is the 1950s.

Shutter Island is not your typical, run-of-the-mill thriller- it is much more than that and the complexities build and build. Not to be secondary to the interesting web of plot, but the art and set designs and visual effects are quite impressive- particularly during the storm scenes.

Leonardo DiCaprio is quite the gem, carrying the film in a demanding role, and working so well with Scorsese, as proven by his being a repeat player in his films.

All the performances (even tiny roles) were played with perfection- with flawless nuances- I mainly mean the hospital staff and patients.

The unpleasant violent images may upset some as well as the ending, but I found it to be an edge-of-your-seat, extremely well-made film. I hope that it is remembered for some time.

2010 Films, Christopher Nolan, Cillian Murphy, Elliot Page, Emma Thomas, Joseph Gordon-Levitt, Ken Watanabe, Leonardo DiCaprio, Lukas Haas, Marion Cotillard, Michael Caine, Science Fiction, Thriller, Tom Berenger, Tom Hardy

Inception-2010

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Inception-2010

Director Christopher Nolan

Starring Leonardo DiCaprio, Ellen Page

Scott’s Review #558

Reviewed December 22, 2016

Grade: A-

Inception (2010) is the type of film that will leave you astounded, baffled, confused, bewildered, and many other adjectives. To put it more simply, this film needs to be pondered after the fact.

This is a high compliment as it is tough to remember such a complex (in a good way!), savory film.

Inception is visionary and meant to be processed.

A highly intelligent film, of sorts, that will leave you thinking afterward. The story is immeasurably complex and will leave many completely confused, but just go with it.

In a nutshell, it tells the story of a man who intercepts people’s subconscious minds through dreams. Different layers of their minds are revealed as the film goes along. There are also virtual levels to each person’s mind- complex, yes.

The film reminds me quite a bit of The Matrix- but better.

The film has many twists and turns throughout and will keep the viewer both perplexed and fascinated. My only slight criticism is the dream sequences do not feel like dreams at all but are highly stylized action sequences.

Many props have been given for being so inventive, though.

Oscar Nominations: 4 wins-Best Picture, Best Original Screenplay, Best Original Score, Best Sound Editing (won), Best Sound Mixing (won), Best Art Direction, Best Cinematography (won), Best Visual Effects (won)

2011 Films, Amanda Seyfried, Catherine Hardwicke, Gary Oldman, Julie Christie, Leonardo DiCaprio, Lukas Haas, Max Irons, Shiloh Fernandez, Thriller, Virginia Madsen

Red Riding Hood-2011

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Red Riding Hood-2011

Director Catherine Hardwicke

Starring Amanda Seyfried, Gary Oldman, Julie Christie

Scott’s Review #477

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Reviewed September 10, 2016

Grade: B-

I was hesitant to see Red Riding Hood (2011) in the theater because it seemed like more of a rental to me.

While it is far from high art, it is an above-mediocre thriller riding the current popularity of the vampire-lite genre.

It tells the tale of a teenage girl living in a medieval village that is being attacked by a mysterious wolf. The wolf, however, is human at times.

The fact that it stars young actors known in current American cinema, it is unsurprising that a love story is written.

I thought the movie was decent, but not great. The whodunit is good as we wonder who the wolf in disguise is, and the cinematography is excellent.

I bought the period’s authenticity.

Being treated to Julie Christie in a current film is always a treat, but at times the movie is quite sappy and Twilight-ish. It is directed by the same director Catherine Hardwicke so this is not surprising.

Overall, Red Riding Hood (2011) is not a bad watch.

2015 Films, Action, Adventure, Alejandro G. Iñárritu, Domhnall Gleeson, Leonardo DiCaprio, Lukas Haas, Tom Hardy, Western, Will Poulter

The Revenant-2015

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The Revenant-2015

Director Alejandro G. Iñárritu

Starring Leonardo DiCaprio, Tom Hardy

Scott’s Review #371

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Reviewed January 27, 2016

Grade: A

The Revenant is a fantastic 2015 film filled with intensity, great visual camera work/direction, and the acting talents of one of modern cinema’s dynamic performers Leonardo DiCaprio.

He shines every minute he is on-screen.

Almost all of the filming takes place outdoors (the American frontier period), and is a revenge tale, only adding to the excitement and beauty of the film.

The film is set in the 1820s, and we are immediately introduced to a large party of hunters and trappers in remote Wyoming as the film opens.

Right off the bat, I was struck by the picturesque scenery.

We are treated to a compelling (and bloody) battle between the trappers and a tribe of Native American Indians. The Louisiana Purchase has just passed, leading to tensions between various parties causing conflict and blood to spill.

The hunters are decimated so the remaining group must flee on foot, hoping to return to safety hundreds of miles away. The main character, Glass (DiCaprio), later receives a terrible injury and the main crux of the story develops as we embark on a tale of his desperation to survive and exact revenge on the men responsible for leaving him to die.

The film is a lesson in endurance. Glass is arguably put through almost every punishment imaginable and we wonder what more he can endure.

The film belongs to two actors. Dicaprio, and Tom Hardy as the villainous John Fitzgerald, a hunter with a major rivalry with Glass.

The film parlays into a revenge tale between the two characters.

DiCaprio is a gem in this film, not only is he compelling from a physical standpoint, he also looks broken, battered, and bruised, but DiCaprio gives a performance that I am fond of.

He acts non-verbally.

In one crucial scene, Glass is unable to move or speak as a violent act is committed. He is desperate yet helpless. The range of emotions portrayed by DiCaprio is astounding. The pain, hurt, and frustration are evident on his face and we sympathize greatly.

This is a powerful performance by DiCaprio.

Tom Hardy is compelling in his own right as the scoundrel he portrays. We despise this character and all his dirty deeds and Hardy successfully pours all his energy into this grizzled role.

Hardy, quite handsome in real life, is transformed into a partially scalped, dirty man. His fate at the end of the film is a clever aspect of The Revenant that helps make it not a typical run-of-the-mill western, but something so much more.

The infamous “bear scene” is second to none. How this compelling scene was shot is beyond me, but the result is a realism I have seldom witnessed in film. The scene is so prolonged and violent that one wishes it would conclude quickly.

A surprise comes that rivals any horror film.

Directed by Alejandro G. Iñárritu he follows a vastly different type of film (Birdman-2013) and does a wonderful job.

The Revenant is arguably a “guy’s movie”.

There are almost no women featured and the ones that are not treated well, which is unfortunate, however, sadly likely true of the times.

Interesting to note though, is Inarritu decided to have a female victim enact revenge on her abuser in a satisfying (though squeamish moment for the male viewer).

I found The Revenant to have definite left-wing leanings. The age-old controversy of the white man taking the Indian’s land is explored and the film has a way of bringing this up more than once as well as not making the Indian tribes “bad”, but rather sympathetic.

Especially since the character of Glass marries an Indian woman and bears a son with her.

Gorgeous cinematography morphed with a wonderful and intriguing story and peppered with brutality. The Revenant (2015) succeeds on every level and sets an important precedent for a film about perseverance in the face of hopelessness.

Oscar Nominations: 3 wins-Best Picture, Best Director-Alejandro G. Iñárritu (won), Best Actor-Leonardo DiCaprio (won), Best Supporting Actor-Tom Hardy, Best Sound Editing, Best Sound Mixing, Best Production Design, Best Cinematography (won), Best Makeup and Hairstyling, Best Costume Design, Best Film Editing, Best Visual Effects

2013 Films, Baz Luhrmann, Carey Mulligan, Drama, Elizabeth Debicki, Isla Fisher, Jason Clarke, Joel Edgerton, Leonardo DiCaprio, Romantic Drama, Tobey Maguire

The Great Gatsby-2013

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The Great Gatsby-2013

Director Baz Luhrmann

Starring Leonardo DiCaprio, Tobey Maguire

Scott’s Review #142

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Reviewed July 29, 2014

Grade: A

Despite some mixed reviews of this movie, I loved it.

Having read the classic novel, The Great Gatsby, by F. Scott Fitzgerald, I was familiar with the story of excess and scandal during one sweltering summer in the well-to-do Long Island, NY community during the 1920s.

Directed by Baz Luhrmann (Moulin Rouge) I found the look of the film lavish, realistic, and gorgeous- perfect ambiance and a dream-like quality.

I loved the casting of Leonardo Dicaprio as Gatsby, Carey Mulligan as Daisy, and Tobey Maguire as Nick Caraway.

The chemistry among the three leads is apparent and visually the film is spectacularly dressed, from costumes to gorgeous sets, and the speech patterns of the era- “old sport”, and “row”, is used frequently and seem authentic.

Many complained about the mixing of modern rap music with a film set in the 1920s, which does sound strange on paper, but I enjoyed that aspect of it and feel it gave a contemporary edge to the film.

There are slight adjustments from the novel, but I thought it was a very successful transition to the big screen.

Oscar Nominations: 2 wins-Best Production Design (won), Best Costume Design (won)

2013 Films, Christine Ebersole, Comedy, Crime Drama, Dark Comedy, Drama, Epic, Ethan Suplee, Fran Lebowitz, Jean Dujardin, Jon Bernthal, Jon Favreau, Jonah Hill, Kyle Chandler, Leonardo DiCaprio, Margot Robbie, Martin Scorsese, Matthew McConaughey, P. J. Byrne, Rob Reiner, Spike Jonze, Ward Horton

The Wolf of Wall Street-2013

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The Wolf of Wall Street-2013

Director Martin Scorsese

Starring Leonardo DiCaprio, Jonah Hill

Scott’s Review #33

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Reviewed June 17, 2014 

Grade: A

Martin Scorsese’s latest offering, The Wolf of Wall Street (2013) is a tale of overindulgence, chaos, and debauchery in the world of stockbroking during the 1980s.

The film is superb.

It is a drug-filled, sex-filled, over-the-top, loud, testosterone-fueled, frenetic extravaganza that works on so many levels.

Humorous and mouth-dropping scenes occur throughout the film.

The casting is flawless- Leonardo Dicaprio and Jonah Hill deserve the praise and Oscar nominations heaped on them.

The supporting actors are perfect- Rob Reiner, Matthew McConaughey, Jean Dujardin, and Kyle Chandler.

With Scorsese, you will receive an intelligent film, though very R-rated.

Similar in style to another of his masterpieces, Goodfellas-1990, as it is narrated by the main character (Dicaprio).

Comparisons to the 1987 film Wall Street are silly. This film is much deeper, grittier, and frankly, much better.

Do not let the unfathomable running time of three hours discourage you- the time goes by very fast.

Oscar Nominations: Best Picture, Best Director-Martin Scorsese, Best Actor-Leonardo DiCaprio, Best Supporting Actor-Jonah Hill, Best Adapted Screenplay