The Wolf of Wall Street (2013)
Country: US
Technical: col/2.35:1 180m
Director: Martin Scorsese
Cast: Leonardo DiCaprio, Jonah Hill, Margot Robbie, Matthew McConaughey, Jean Dujardin, Kyle Chandler, Rob Reiner
Synopsis:
The rise and fall of Wall Street stockbroker Jordan Belfort, who climbed back after the 1987 crash to make a fortune hard-selling penny stocks to an unsuspecting public.
Review:
First Goodfellas, then Casino; now Scorsese turns in another three-hour exposé of the unsavoury flipside of the American Dream. The familiar ingredients are there: sardonic, self-deprecating first-person commentary, scenes of hedonism involving sex and drugs, material excess as the characters hit the big time (and much shouting), and overwrought despair as they pick up the tab (and more shouting). True, there is less violence than in the other films (and no Joe Pesci), but interestingly there is also an increased sense of gleeful impunity, or rueful irony, at the end: indeed one can plot an upward arc in the fates of the principal characters, all of whom cut a deal and survive their transgressions: Hill, Rothstein, Belfort. Is that the point Scorsese is making? That financial crime is a win-win? As you ponder this question you may enjoy a smart script, feisty playing (McConaughey alas vanishing from the screen very early on) and acres of feminine flesh, and reflect that it is not all that far from the seventies Hollywood of his youth. When, we wonder, will he make that film?
Country: US
Technical: col/2.35:1 180m
Director: Martin Scorsese
Cast: Leonardo DiCaprio, Jonah Hill, Margot Robbie, Matthew McConaughey, Jean Dujardin, Kyle Chandler, Rob Reiner
Synopsis:
The rise and fall of Wall Street stockbroker Jordan Belfort, who climbed back after the 1987 crash to make a fortune hard-selling penny stocks to an unsuspecting public.
Review:
First Goodfellas, then Casino; now Scorsese turns in another three-hour exposé of the unsavoury flipside of the American Dream. The familiar ingredients are there: sardonic, self-deprecating first-person commentary, scenes of hedonism involving sex and drugs, material excess as the characters hit the big time (and much shouting), and overwrought despair as they pick up the tab (and more shouting). True, there is less violence than in the other films (and no Joe Pesci), but interestingly there is also an increased sense of gleeful impunity, or rueful irony, at the end: indeed one can plot an upward arc in the fates of the principal characters, all of whom cut a deal and survive their transgressions: Hill, Rothstein, Belfort. Is that the point Scorsese is making? That financial crime is a win-win? As you ponder this question you may enjoy a smart script, feisty playing (McConaughey alas vanishing from the screen very early on) and acres of feminine flesh, and reflect that it is not all that far from the seventies Hollywood of his youth. When, we wonder, will he make that film?
Country: US
Technical: col/2.35:1 180m
Director: Martin Scorsese
Cast: Leonardo DiCaprio, Jonah Hill, Margot Robbie, Matthew McConaughey, Jean Dujardin, Kyle Chandler, Rob Reiner
Synopsis:
The rise and fall of Wall Street stockbroker Jordan Belfort, who climbed back after the 1987 crash to make a fortune hard-selling penny stocks to an unsuspecting public.
Review:
First Goodfellas, then Casino; now Scorsese turns in another three-hour exposé of the unsavoury flipside of the American Dream. The familiar ingredients are there: sardonic, self-deprecating first-person commentary, scenes of hedonism involving sex and drugs, material excess as the characters hit the big time (and much shouting), and overwrought despair as they pick up the tab (and more shouting). True, there is less violence than in the other films (and no Joe Pesci), but interestingly there is also an increased sense of gleeful impunity, or rueful irony, at the end: indeed one can plot an upward arc in the fates of the principal characters, all of whom cut a deal and survive their transgressions: Hill, Rothstein, Belfort. Is that the point Scorsese is making? That financial crime is a win-win? As you ponder this question you may enjoy a smart script, feisty playing (McConaughey alas vanishing from the screen very early on) and acres of feminine flesh, and reflect that it is not all that far from the seventies Hollywood of his youth. When, we wonder, will he make that film?