Tag Archives: Martin Scorsese Films

Raging Bull-1980

Raging Bull-1980

Director-Martin Scorsese

Starring Robert De Niro, Joe Pesci

Scott’s Review #1,256

Reviewed May 14, 2022

Grade: A

Raging Bull (1980) might be director Martin Scorsese’s most personal film and certainly his most character-driven. His other films contain great characters, rich with life, but with the focus firmly planted on controversial real-life boxer Jake LaMotta (Robert De Niro) there is much to explore.

His descent into madness is hard to watch but also impossible to look away from.

It’s tough to top the De Niro/Scorsese pairing featured in Taxi Driver (1976) when the actor simply kicked the audience’s ass with his ferocious portrayal of maniacal Travis Bickle. LaMotta arguably surpasses that portrayal because the boxer experiences the highest of the highs with the lowest of the lows.

And the audience is whisked away with him on the journey from heaven to hell. Arguably director and actor’s finest film, Raging Bull is often painful to watch, but it’s a searing, powerful work about an unsympathetic hero who we can’t help but explore.

A double-pairing film extravaganza of watching Taxi Driver and Raging Bull is a fabulous idea though the viewer may need a Valium to combat the resulting anxiety after experiencing these films.

I love the title that is Raging Bull because it is so apt and central to the film. Fueled with machismo, testosterone, and anger, Jake LaMotta certainly is a raging bull.

Screenwriters Paul Schrader and Mardik Martin, frequent collaborators of Scorsese’s, adapt the story from Raging Bull: My Story, a 1970 memoir written by LaMotta.

Raging Bull tells the story of an Italian-American middleweight boxer as he struggles through the ranks to earn his first shot at the middleweight crown. He possesses a self-destructive and obsessive rage, jealousy, and animalistic appetite that destroys his relationship with his wife and family.

Wonderfully cast as his wife Vickie is Cathy Moriarity who is a gorgeous girl from the Bronx who falls head over heels in love with Jake. Joe Pesci plays his well-intentioned brother and managerJoey, who unsuccessfully tries to help Jake battle his inner demons.

Jake’s inability to express his feelings enters the ring and eventually takes over his life. He is sent into a downward spiral that costs him everything.

Comparisons to the exceptional Rocky (1976) are cute and perhaps contain some merit on paper but whereas the former is heroic and compelling, the main characters are nothing alike except that they are both struggling boxers who achieve success.

Both are sports films but Raging Bull is much, much darker and purely a character study.

The cinematography by Michael Chapman and the Film Editing by Thelma Schoonmaker are deserving of accolades and make the picture as flawless as it is.

Scorsese adds enough boxing scenes to showcase the fantastic editing that is required for these difficult scenes. The editing is lightning quick and the thunderous bombast makes the viewer feel each blow of the glove on the skin. The blood and sweat are legendary components of these scenes.

The black and white cinematography is jaw-dropping especially powerful during the kitchen fight scene between Jake and Joey. The brutal buildup is hard to stomach as Jake’s dementia becomes evident.

Despite the other qualities of the film that bring it all together, my favorite aspect is the performance that De Niro delivers, winning him a much deserved Best Actor Oscar.

He is powerful and animalistic playing both subtle rage and explosive anger. His tragic final act as a much older and fat man is shrouded in heartbreak and pain for both the character and the viewer to experience.

All the pieces of Raging Bull (1980) add up perfectly into a masterpiece. The violence and pain are enshrouded in poetic dialogue and beautiful illuminating camera work exploring one man’s battles and struggles both inside the squared circle and internally.

Oscar Nominations: Best Picture, Best Director, Best Actor-Robert De Niro (won), Best Supporting Actor-Joe Pesci, Best Supporting Actress-Cathy Moriarty, Best Cinematography, Best Film Editing (won), Best Sound

Alice Doesn’t Live Here Anymore-1974

Alice Doesn’t Live Here Anymore-1974

Director-Martin Scorsese

Starring-Ellen Burstyn, Kris Kristofferson, Diane Ladd

Scott’s Review #1,075

Reviewed October 27, 2020

Grade: A-

Deserving of the Best Actress statuette she won for her role, Ellen Burstyn carries the film Alice Doesn’t Live Here Anymore (1974) from start to finish with drama and comedy. I can’t watch any performance of Burstyn’s without smarting at how she lost the same award years later after her frighteningly good performance in Requiem for a Dream released in 2000. She was defeated by Julia Roberts, who gave an adequate though unexceptional performance in Erin Brockovich (2000). But, I digress.

A character study Alice Doesn’t Live Here Anymore, tells the powerful story of a woman (Burstyn) forced to begin a new life and forge her own path after her husband is killed in a car accident. She is thirty-five years old and wary of middle age approaching as she pursues a singing career. She is joined by her young son, Tommy (Alfred Lutter), and faces fear and loneliness as the pair embarks on a journey throughout the southwestern United States. She dates, fights, and does a soul-search, finally landing a job as a waitress at a roadside diner.

On paper, this film could have been reduced to television movie status as the premise sounds kind of corny and sentimental. Shocking to me is that Martin Scorsese directed it. Best known for male-driven mobster pictures like Goodfellas (1993), Gangs of New York (2002), and The Irishman (2019), an introspective female journey film doesn’t seem like his thing. A fun fact is that he agreed to direct at Burstyn’s urging as she wouldn’t have starred in it otherwise. The actress surmised that the script needed more darkness and grit, which it contains without losing its heart.

A strange yet lovely photographed scene kicks off the picture and seems to be an homage to The Wizard of Oz (1939). With a dusty, golden backdrop, a young Alice looks like Dorothy with an idyllic life. Suddenly, Alice’s mother bellows her to come home for dinner. She responds with salty language. The scene feels out of place based on the rest of the film but looks good.

Burstyn made me care about Alice from the first scene containing adult Alice. Alice is a good person. She is hard-working and strives to please her husband, hoping he will enjoy the delicious dinner she has prepared for him. He barely grunts at the meal and has a tumultuous relationship with Tommy, who Alice spoils. This plot point returns later in the film. Alice is not a doormat, however, as she provides humor and comic relief during tense moments. She also shares a warm friendship with her neighbor. We do not know what the husband’s demons are (depression?). He and Alice share an emotional moment in bed one night before he dies the next day.

With her marriage behind her and limited financial means, Alice and Tommy take to the road. I adore the relationship between the two. Tommy is not always easy to parent, exhausting his mother with typical young adult nonsense. It’s easy to forget that he has lost his father and has no direction. Their relationship is complicated but there is much love.

The juiciness comes when Alice finally lands a singing gig at a seedy lounge bar and meets the maniacal Ben, played flawlessly by Harvey Keitel. At first, he is charming and attentive, wooing her like she’s never been wooed before. When she learns he is married he turns psycho and she is forced to leave town. The meat of the film comes when Alice begins working at the diner and meets her new friend, Flo (Diane Ladd), and her new love David (Kris Kristofferson). After some trials and tribulations, Alice realizes her life is not so bad.

As much as there are dramatic elements Alice Doesn’t Live Here Anymore is not soap opera or overwrought. The scenes and situations bristle with energy and authenticity and this is thanks to the great acting and fluid direction. My favorite scenes occur at the diner. With greasy, blue plate specials and dishes piled with ham, eggs, and hash browns, the working-class extras are perfectly positioned around the diner. In the background, they lend a feeling of rush, chaos, and family traditions. The diner scenes are where Alice bonds the most with Flo and David and are delicious.

Turned into a popular television sitcom in the late 1970s named Alice, a lighter, wholesome production, Alice Doesn’t Live Here Anymore (1974) is a progressive story about a woman on her own and getting it done, mustering courage no matter what life throws at her. It’s an inspiring story for both women and men.

Oscar Nominations: Best Actress-Ellen Burstyn (won), Best Supporting Actress-Diane Ladd, Best Original Screenplay

After Hours-1985

After Hours-1985

Director-Martin Scorsese

Starring-Griffin Dunne, Rosanna Arquette

Scott’s Review #1,069

Reviewed October 9, 2020

Grade: A-

After Hours (1985) is a gem of a film. When thoughts of director Martin Scorsese are conjured, usually Taxi Driver (1976), Raging Bull (1980), or Goodfellas (1993) are his films that immediately spring to mind.

Scorsese’s decision to create a pared-down independent film was met with enormous success and accolades for the very first Best Feature indie film victory and Best Director honors. The experience is a black comedy set within the gritty and unpredictable underbelly of Soho-New York City in the 1980s.

Mixing comedy with satire, Scorsese leapfrogs from similar content in The King of Comedy (1983) to this film made only two years later. Any fan of New York City will cheer with joy at the authenticity achieved since the film was shot on location there. The Big Apple in the 1980s was a notoriously violent cesspool so the genuine setting and the use of dark streets and alleys is an immeasurable treat and adds much zest to this unusual film.

Yuppie nice guy, Paul Hackett (Griffin Dunne), works hard as a computer data entry worker by day and shares an encounter with a quirky young woman named Marcy Franklin (Rosanna Arquette) in Manhattan coffee shop. After she gives him her number and leaves, he is unable to stop thinking about her and embarks on a late-night adventure to go and see her at her apartment.

The night does not end how he thinks it will. Not by a long shot, as he spends the rest of the long night meeting various women and other strange characters as he traverses around the city attempting to get back home. He has lost his money and is broke.

The great aspects of After Hours are its bizarre characters and the cinematography that offers a tantalizing view of downtown Manhattan. The film is atmospheric and zany in its gloomy and steamy side streets and odd locales sprinkled with color.

A dingy bar, a sophisticated artist’s apartment, and a man sculpture that follows Paul everywhere are usurped by the film’s strangest and most interesting set, Club Berlin, an “after hours” club inhabited by punks who want to shave Paul’s head into a mohawk.

I enjoyed this film as a sort of “a day in the life of Paul” adventure story, albeit a gothic one. The film concludes wonderfully as the sun begins to rise just as the film ends and thus Paul’s wild night finally ends. I was chomping at the bit with the thought of what a new morning would bring and the possibilities of reuniting with any of the women he encountered the night before, either dead or alive.

Particularly charming to me while watching After Hours, the decade of decadence well into the past, are the relics once commonplace in everyday life. A phone booth, the traditional yellow cabs, and desktop personal computers are heavily featured. These items, relevant when the film was made, now seem like throwback niceties that make the film endearing and like a glimpse into someone’s time capsule.

I did not pick up on much authentic romance between Paul or any of the female characters- Marcy, June, Gail (Catherine O’Hara), or Julie (Teri Garr), but maybe that’s the point. While one winds up dead, not one, but two of them pursuit him, and not in a good way. The film is mystical, weird, and energetic. The inclusion of Cheech & Chong only adds to the revelry.

Sadly, underappreciated and too often forgotten, After Hours (1985) is a Scorsese treat worth dusting off now and then. The birth of the Independent Spirit Awards has a lot to owe to this film for grabbing top honors and the admiration works both ways. For a glimpse at the creative genius that is Martin Scorsese, this film gets an enormous recommendation.

Independent Spirit Award Nominations: Best Feature (won), Best Director-Martin Scorsese (won), Best Female Lead-Rosanna Arquette, Best Screenplay, Best Cinematography

The Irishman-2019

The Irishman-2019

Director- Martin Scorsese

Starring-Robert De Niro, Al Pacino, Joe Pesci

Scott’s Review #960

Reviewed November 20, 2019

Grade: A

Any film created by legendary director, Martin Scorsese is sure to impress legions of adoring followers and most critics. Every project he touches on results in something fantastic, and easy to revel in good analysis and discussion about the movie moments after the closing credits have rolled.

The Irishman (2019) is a film that requires repeated viewings and thought to obtain the full flavor and relish in the savory and vast cast of characters.

The picture may not be on the same level as Goodfellas (1990) or The Godfather (1972), which it seems patterned after, but the work is highly impressive and should stand the test of time resulting in a fine wine analogy.

The years will likely be kind to the film and enrich the experience- it’s that kind of film. With stars like Robert De Niro, Al Pacino, Joe Pesci, and Harvey Keitel on board, the viewer expects a plethora of riches and that is exactly what is delivered.

The film spans the period of the 1950s through the 1970s and follows the life of Frank Sheeran (De Niro), a truck driver who becomes a hitman and gets involved with mobster Russell Bufalino (Pesci) and his crime family, including his time working for the powerful Teamster Jimmy Hoffa (Pacino). Sheeran is dubbed “the Irishman”.

He narrates much of the story, now quite elderly and residing in a nursing home, of his time in the mafia and the mystery surrounding the death of Hoffa.

The only negatives to the film are the suspension of disbelief that De Niro is Irish- was there ever a more Italian New Yorker? But, alas, this film is Scorsese directed and De Niro produced, so they could tell me the sky is green and I would readily nod in agreement.

At three hours and twenty-nine minutes, the film is a long haul and towards the middle, the film meanders a bit. Perhaps twenty or thirty minutes could have been sliced to the cutting room floor.

The rest of the experience The Irishman serves up is brilliance, with rich characters and a wonderful atmosphere. Have I mentioned that Scorsese directed this film? The cast of characters is endless and drizzles with zest speaking volumes for what The Godfather did with casting.

Many recognizable actors appear in small roles like Ray Romano as attorney Bill Bufalino, Bobby Cannavale as “Skinny Razor”, and Anna Paquin as Frank’s estranged daughter, Peggy. An endless supply of character actors fleshes out the remaining cast.

Wonderful is the plethora of food references that would impress notable food director, Alfred Hitchcock, known for incorporating meals into many of his scenes. The delectable early scenes when Frank delivers meat to grocers and gets in with a gangster over a discussion about a good steak will leave viewers mouth-watering for a tender sirloin.

The conversations between characters are interesting, slowly building and adding robust grit to a packed film. They have good, careful dialogue exchanges and talk matter-of-factly about life and experiences.

Characters are given a chance to develop and grow and even small characters like a nurse or a wife add a good, comforting aura. It is evident what treasured films look like when a director can simply create and develop without outside interference.

The standouts in the acting department are Pacino and De Niro, the former crossing my fingers will receive an Oscar nomination.

The pairing is flawless and eagle-eyed fans will recall that both actors appeared together in The Godfather Part II (1974) yet never shared a scene.

In The Irishman, they appear together in pivotal scenes. Pacino infuses Hoffa with humor and poise as only Pacino can do with a character. He is my favorite character and is tough to look away from.

Both actors, along with Pesci, are treated to a recent marvel in cinema- that of the de-aging process. Each actor, well into his seventy’s, is transformed to mid-forties in many scenes and then aged to appear elderly later in life.

While each has a strange unnatural look to him as a younger man, the process is impressive and an innovative technique that assuredly will become more common in film, and subsequently offer limitless possibilities.

The Irishman (2019) is a cinematic gem by a storied director advancing in years, but still offering grandiose films. With stalwarts like De Niro, Pesci, and Pacino, the players are well cast, and nuanced touches add dimensions to the finished product.

Offering a gangster film with grace and style, the story is poignant and crisp and a thoughtful approach to one of the legendary mysteries- what happened to Jimmy Hoffa?

Oscar Nominations: Best Picture, Best Director-Martin Scorsese, Best Supporting Actor-Al Pacino, Joe Pesci, Best Adapted Screenplay, Best Production Design, Best Cinematography, Best Costume Design, Best Film Editing, Best Visual Effects

Taxi Driver-1976

Taxi Driver-1976

Director-Martin Scorsese 

Starring-Robert De Niro, Cybill Shepherd

Scott’s Review #776 

Reviewed June 20, 2018

Grade: A

It is incredibly tough to choose a favorite of all Martin Scorsese films since nearly all of them are incredibly well made. Certainly Goodfellas (1990), Raging Bull (1980), and Taxi Driver (1976) immediately come to mind. In fact, Taxi Driver maybe Scorsese’s darkest film of all.

The thriller is intense, dangerous, and ferocious led by a riveting performance by Robert De Niro- a regular in the director’s earlier films. The film is nail-biting and compelling and a great, character-driven watch.

Set in the bustling and (at that time) decrepit New York City shortly following the Vietnam War, Travis is a veteran clearly suffering from some degree of post-traumatic stress disorder. Lonely and angry, he works as an overnight taxi driver who falls for a snooty presidential campaign worker, Betsy, (Cybill Shepherd).

He also forges a relationship of a protective nature with an underage prostitute, Iris, (Jodie Foster). As he gradually spirals out of control due to the unhappiness surrounding him, he plots to kill Betsy’s boss while protecting Iris from her pimp (Harvey Keitel).

One great aspect of Taxi Driver is the insanely good performance by De Niro. Along with the later role of Jake LaMotta in Raging Bull, that and his role of Travis Bickle are my two favorite roles of his. With Bickle, he is unpredictable, on edge, and angry, as De Niro infuses the character with those qualities in a seamless fashion.

As he teeters on the brink of insanity and ready to snap at any given moment, the character is impossible not to watch with both fear and marvel. De Niro is that brilliant. 

While not to be outdone by the aforementioned negative and dangerous qualities, Travis also possesses a few benevolent traits making the character complex. In large part, this comes into play with the protective nature he develops towards Iris.

Almost like a big brother/kid sister dynamic, the deranged man treats her with kindness rather than taking advantage of her as he easily could have. The diner scene the two actors (De Niro and Foster) share is so rich with interesting dialogue and bonds the characters together.

Travis also harbors love and hate emotions towards Betsy (Cybill Shepherd). As she is a political volunteer for a potential presidential candidate, Travis first encounters her by way of spying on her through large glass windows where she works. Coaxing her to accept a date, they have coffee and eventually attend a film together. Betsy is offended since the film is pornographic and their date goes south fast. After a vicious showdown between the pair at the campaign office, Travis goes off the deep end and plots revenge.

The gritty atmospheric approach that Scorsese provides when filming Taxi Driver is an enormous highlight of the film. Dingy, dark, and dangerous, the director creates ample scenes showing just how seedy New York City was in the 1970s.

Working the night shift, sure to bring out the rancid and most decaying elements of the city, Travis experiences many cretins and undesirables in his work- and arguably is one of them! Many scenes feature the notorious 42nd street and its accompanying porn theaters that made New York City famous (or infamous!) at the time.

In one of the film’s most frightening (and best) scenes, Travis can get his hands on a gun. He practices drawing his weapon in the mirror repeatedly uttering the famous line “you talkin’ to me?” as we wonder if he will pull the trigger. The scene is fraught with cerebral tension and quite frightening. Later, when Travis shaves his head and brandishes a mohawk, his new look is downright terrifying.

Scorsese creates a dark world that is enriched by his incredible cinematography and astounding representation of interesting characters in dangerous and unstable times. Taxi Driver (1976) is a treasure to watch closely and appreciate as a timeless piece of art. Instead of decaying in the vaults of cinema. Taxi Driver is a film that gets better and better with age.

Oscar Nominations: Best Picture, Best Actor-Robert De Niro, Best Supporting Actress-Jodie Foster, Best Original Score

Shutter Island-2010

Shutter Island-2010

Director-Martin Scorsese

Starring-Leonardo DiCaprio

Scott’s Review #567

Reviewed December 27, 2016

Grade: A-

Shutter Island 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, violent certainly, 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, 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 period is the 1950’s.

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. In fact, 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, an extremely well-made film. I hope that it is remembered for some time. Kudos.

Goodfellas-1990

Goodfellas-1990

Director-Martin Scorsese

Starring-Ray Liotta, Robert De Niro, Joe Pesci

Top 100 Films-#89

Scott’s Review #349

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Reviewed January 9, 2016

Grade: A

Director Martin Scorsese adapts Goodfellas, a crime-mob film, from the 1986 non-fiction book written by Nicholas Pileggi. Pileggi helped Scorsese write the screenplay.

The film is a more matter-of-fact telling than the purely dramatic The Godfather, with more wit and humor thrown in and great editing.

Featuring powerful acting by Ray Liotta, Robert De Niro, and Joe Pesci, it is a classic mob film that is memorable and can be enjoyed via repeated viewings.

Largely ad-libbed, the film is rich in good dialogue and holds the distinction of containing one of the highest totals of curse words in film history.

The film is told from the first-person narrative of the lead character, Henry Hill.

Henry, now in the Witness Protection Program, recounts his years affiliated with the mob, spanning the years 1955 to 1980.

We meet Henry as a youngster in Brooklyn, New York, half-Italian, half-Sicilian, he idolizes the “wise guys” on the streets and has every intention of one day joining their ranks.

From there, the film describes the trials and tribulations of Henry’s group of miscreants. Henry meets and falls in love with Karen (Lorraine Bracco) and their tumultuous love story is explored, through tender moments and affairs.

What I love most about Goodfellas is the love of the characters and the sense that you are part of the action. The film is a highly stylized family drama- gritty nonetheless, but the viewer feels like they are part of things and a member of the family- milestones are celebrated and meals are shared.

We see Henry grow from a teenage gullible boy- idolizing the neighborhood men, to being part of the group.

The other characters, such as vicious and volatile Tommy DeVito (Pesci) and Jimmy “The Gent” Conway (De Niro), age and mature.

Bracco’s character is an interesting one- she, unlike most of the female characters in The Godfather films, is not content to merely sit on the sidelines and look past her husband’s shenanigans and torrid affairs with floozies.

She is a more modern, determined woman and Bracco plays her with intelligence and a calm demeanor. She wants to be Henry’s equal instead of just some trophy wife.

Pesci, who deservedly won the Best Supporting Actor Oscar for his role, is brutal and filthy, but so mesmerizing a character.

During a memorable scene, his character Tommy jokingly teases Henry, but when Henry responds in a way that displeases Tommy, the scene grows tense and Tommy becomes increasingly disturbing.

His famous line “What am I a clown- do I amuse you?” is both clever and haunting in its repercussions.

I adore the soundtrack that Scorsese chooses for the film- spanning decades, he chooses songs true to the times such as “Layla” (1970) or “Remember (Walking in the Sand)” (1964) are just perfect.

Worth noting is when a scene plays, sometimes the song is mixed in with the narrative so that it enhances the scene altogether- becoming a part of it rather than simply background music.

If one is looking for the perfect mob film, that contains music, wit, charm, and fantastic writing, Goodfellas is among the best that there is.

My preference is for The Godfather and The Godfather II, but while Goodfellas has similarities to these films it is also completely different and stands on its own merits.

Oscar Nominations: Best Picture, Best Director-Martin Scorsese, Best Supporting Actor-Joe Pesci (won), Best Supporting Actress-Lorraine Bracco, Best Screenplay Based on Material from Another Medium, Best Film Editing

The Wolf of Wall Street-2013

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 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, Kyle Chandler.

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

Similar in style to another of his masterpieces, Goodfellas, 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