TF:
Welcome to Martin Scorsese’s 22nd feature film, another of his examinations of the rites and rituals of a particular sect, be it the wiseguys of ‘70s Little Italy (Mean Streets) or the society scions of late 19th-Century New York (The Age Of Innocence).
With its rise-and-fall arc, its hedonism and hubris, its gleeful exploration of the dark side of the America Dream, its money, crime and narcs, its sex, drugs and rock’n’roll (though the soundtrack also takes in Madness, Simon & Garfunkel and a fair bit of Euro pop), The Wolf Of Wall Street forms a loose trilogy with GoodFellas and Casino. And if it can’t quite match the energy and quality of those classics, it nonetheless stands as Scorsese’s finest for 15 years.
A touch too long, yet never slack, at three hours, TWOWS benefits from independent funding, Scorsese’s brass balls and an A-grade cast’s turbulent improvisations to emerge as an epic, boldly broad screwball comedy about the state of America, then and now.
Christopher Nolan’s Oppenheimer walked into the 96th Academy Awards and blew everyone away, winning seven Oscars on the night. But is it Nolan's best film yet?
Cancel all proposed awards ceremonies and hand over the major gongs to Peter Farrelly's Ricky ;Stanicky.
Late Night with the Devil will be The Exorcist for a new generation.
Looks like another winner.