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![]() President Ronald Reagan’s would-be assassin John Hinckley Jr. The film (written by Paul Schrader) is a raw, rough, bitter portrait of a ticking time bomb who is equal parts destructive and self-destructive. In her breakout role, 12-year-old Jodie Foster plays a prostitute Bickle tries to protect. A sumptuous period piece.ĭe Niro plays the original incel, Travis Bickle, a lonely, angry Vietnam vet, who Scorsese recently noted in an interview has become an all-too-common personality type nowadays. The story tells the courtship and marriage of Newland Archer (Daniel Day-Lewis) to May Welland (Winona Ryder) amid various entanglements. The movie contains the occasional cringe (such as Cady’s attempt to seduce a teenage Juliette Lewis), but Cape Fear is a ride that stands as one of the director’s most popular films (bonus: Cape Fear inspired an entire Simpsons episode - season five’s much-loved “Cape Feare”).Ī fine example of Scorsese coloring from a different palette, the director drew praise for venturing far outside his comfort zone with this romantic drama based on Edith Wharton’s novel that’s set in early 20th century New York. Cape Fear is such a cartoon of a thriller that it comes as a surprise it’s from Scorsese when it feels more like the Coen brothers channeling Hitchcock on bath salts. King of Comedy is one of several early Scorsese pictures that became more revered over time, and Todd Phillips’ Joker wouldn’t exist without it.ĭe Niro plays obsessive ex-con Max Cady stalking his former attorney (Nick Nolte) and his family in this remake of the 1962 film. In The King of Comedy, Robert De Niro plays an obsessive stand-up comic who kidnaps and torments his favorite comedian (Jerry Lewis). Very much a time capsule (and a bit dated upon rewatch), this charming comedy follows an unlucky guy (Griffin Dunne) experiencing one calamity after the other over the course of one surreal night in New York. After Hours (1985) and The King of Comedy (1982) (Tie)Īfter Hours is a Scorsese fan favorite. Near the end, Scorsese begins to inject bits of his most unappreciated secret weapon - his dark, dry sense of humor - which by then feels tonally inconsistent. Opening this week, it’s powerful, yet sure to be divisive.ĩ. ![]() For the bulk of the film, every character is presented as utterly evil or a naive, passive victim (with arguably an over-emphasis on the white characters). It’s also a punishing three-and-a-half hours of watching people suffer and perish amid nonstop gaslighting and brutality. Holmes and Amy Robach Ink iHeartMedia Podcast Deal After ABC Exitįlower Moon is extremely well made a clear Oscar contender that succeeds in provoking outrage and empathy while telling an important story about the plight of preyed-upon Osage tribe who were systematically murdered for their oil-rich property rights. ![]() Thankfully, so many Scorsese titles successfully do both, and below those films have an edge. They evoke that eternal debate between what truly makes a film great: its artistry or its ability to entertain. Some of the Catholic-raised director’s titles (such as Silence, Taxi Driver and his latest, Killers of the Flower Moon) force moviegoers to endure a cinematic penance that echoes the journey of his tormented protagonists. Here’s the perspective of this particular list: Scorsese is at his best when his masterful technique is married with compelling characters and propulsive storytelling. Do you revere Scorsese’s breakout 1970s films? His more mainstream 21st century hits? Do you find his religious films moving or a snooze? So much depends on which version of Scorsese is most valued by the chooser. Picking and ranking his 10 best? A list is “wrong” before it even begins (except, perhaps, for No. ![]() Martin Scorsese’s 27 narrative feature films range from beloved gangster titles, to a bold religious trilogy, to popcorn thrillers, to dark character portraits.
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