The Wolf of Wall Street (new Scorsese)

I liked "I would let her give me AIDS" because it didn't feel like he was even making a joke there

Was reading somewhere a critique that basically amounted to "Scorcese doesn't know when to stop." Doesn't he though? That's one of the most impressive things about this movie. Trim each scene by a minute or two and you'd have very different movie. Like, yeah we see what the point is and where things are going but the obsessive compulsive repetition, always going back for one more, strikes me as very pointed and controlled here. It's amazing to behold.

it's exhausting to behold

it's obviously a tight rope walk of sorts--but I got off on the aesthetic thrill and daring of it.

keep meaning to hash something out about the 'real' 'respectable' wall street & the old establishment being the kind of distant unloving father of this movie, it's not shown much at all but is constantly on everyone's mind. i suppose it's a very basic gatsby new-old money polarity. some critics have said WoWS doesn't show the REAL financial criminals which sort of gets at this

"real finance" is where JB starts until black monday knocks him out, where he's trying to get back to. he talks about the fake-wasp name of his firm in those terms ("carved on plymouth rock"), and at one point excuses his firm's bad reputation by saying he has to make noise because he's the new guy, and the legit world is around the corner (shades of michael corleone wanting to take the family straight? only not really...), the shift to ipos which have the look of legitimacy but they do as crookedly as they can (i looked up steve madden and irl he went down for crimes related to that deal, haha.) the speech about the single mom who now wears armani has that doubleness, of wanting so badly to be inside the castle but also to be proud of your busted ass bridge and tunnel self for crashing it.

interesting too that class issues underlie the major plot turn, but not belfort's: it's donnie azoff who can't stand having to deal with a drug dealer as a money mule, that he hasn't gotten out of that world, which leads to the fight in the parking lot that keeps belfort in the fbi's sights. if he hadn't had that chip on his shoulder and been able to just to the deal with the guy, well...

in a way it's a mirror of belfort's scene on the boat with the fbi agents: he really just can't clock that they'd be disgusted by his excess rather than impressed.

Loved the way the "Stratton Oakmont" title that opens the movie looks at first like it's another production company logo

intersting http://www.slate.com/articles/news_and_politics/jurisprudence/2014/01/the_wolf_of_wall_street_and_the_stratton_oakmont_ruling_that_helped_write.html

I'LL BE FRESH AS HELL IF THE FEDS WATCHIN

― Beatrix Kiddo (Raymond Cummings), Tuesday, January 7, 2014 9:42 AM (21 minutes ago) Bookmark

This is actually the most otm comment about this movie

― 龜, Monday, January 6, 2014 8:03 PM (2 days ago) Bookmark Flag Post Permalink

lol & otm

no memory of such a line

https://www.youtube.com/watch?v=NttlPwNKd_M

great post by goole

haha morbs

https://www.youtube.com/watch?v=SYXB8crww0I#t=1

ha wow

that video is pretty upsetting i gotta say

new layer to the glorification wars

Lol Jordan sold Leo on his brand

he is truly a motivator of men and indeed owns a sick ass yacht w a helicopter on it... wait hold on where am i

given the type of people leo partied with in the 90s i'm willing to bet that he has washed away the sins of financial monster cokeheads long before he had to reckon with portraying one in this movie

its true i was in leos entourage for a while and it got pretty gully, not something im proud of

which is why lag now wears dentures

serial model fucker Leonardo DiCaprio, ladies and wolves

for real tho a friend of mine had a titanic towel she took from leos bathroom lol

I wonder if DeNiro ever did a testimonial for Jake LaMotta

remember reading things about pesci and deniro being pretty friendly w/ henry hill years after shooting goodfellas.

http://www.reverseshot.com/article/reverse_shots_two_cents_2013

Biggest Critical Head-Slapper: The Wolf of Wall Street
Only in our social-media era of opinion overload would such a non-starter of a conversation like the one that accompanied the release of The Wolf of Wall Street have given way to a major critical debate. Does Martin Scorsese’s rollicking, sickening comedy of debasement indulge in or gape horrified at the decadence of real-life protagonist Jordan Belfort? A little of the former; a lot of the latter. That this is a critique of its milieu is fairly evident if you do this one crucial thing: Watch the movie. Pay attention to niggling things like camera angles and compositions, cuts between shots, music cues, performance style. It’s difficult to believe that anyone who didn’t show up at the theater with his or her knives already sharpened could possibly take this portrait of a latter-day Sodom and Gomorrah as anything other than a wade through a culture choking on its own excesses. Is it also amusing? Yes, the film wouldn’t make sense without a modicum of seduction, which here comes in the form of a bona fide movie star: Leonardo DiCaprio, as consistently charming as he is repellent. He’s our Beelzebub, guiding us through hell and purgatory, daring to make us laugh while everything around him—and us—crumbles. That a general ambiguity seems to have been perceived about how we’re supposed to take The Wolf of Wall Street is certainly a credit to the film as a work of provocation. But at the same time, I believe that those unsure how to read such a scene as the one in which DiCaprio, Jonah Hill, and their cronies sit around a boardroom table and have a Final Solution–like conversation about whether or not to classify dwarfs as human beings probably need to examine themselves more than the film at hand. —Michael Koresky

anyone who uses the word rollicking shd be murdered

how about "bona fide movie star"

What about a professional adventurer or pirate?

there's a distinctly American form that I'm tempted to say this movie borrows from: the jeremiads.

that's too strong a claim, but one thing people forget about jeremiads is that for all their litany of sins and forthcoming damnation, they were titillating forms of entertainment. all the better to implicate you in sin, to see the sin already in your own heart.

scorcese is less judgemental (I think?) but that Catholic schoolboy push-pull between his guilt and his temptation is what makes his best movies such a unique experience imo. i personally love that bit of subjective neurosis in them.

how about "bona fide movie star"

― eclectic husbandry (Dr Morbius), Thursday, January 9, 2014 1:51 PM (23 seconds ago) Bookmark Flag Post Permalink

ideally theyd be murdered before they got the chance

He's right about angles and editing, but he needs a better guide than Beelzebub through ancient myths.

this ain't Shaw, people

Don Morbs in Hell

i have a share there

This was the best Marx Brothers movies since the Marx Brothers... Except for that time when Joe Dante was making Marx Brothers movies...

the ludes scene, omg

this movie ruled

http://www.newyorker.com/online/blogs/movies/2014/01/the-lasting-power-of-the-wolf-of-wall-street.html anyone link to this yet?

brody otm

You're dead from the neck down if you read that Brody piece.

This is how music cues are done. Robertson's work here is vastly more accomplished than anything he's done since he split the Band (and nearly as brilliant as Casino). And I can't stand the Lemonheads or Billy Joel. It just makes the ham-fisted choices and placements in American Hustle look even more amateurish.

the lemonheads wld be cool if all their songs were as good as mrs robinson

https://www.youtube.com/watch?v=7WIXVGCt9nY

And I figured there was some CGI, but damn.

http://gizmodo.com/its-crazy-how-much-of-the-wolf-of-wall-street-is-actua-1501402962

the lemonheads wld be cool if all their songs were as good as mrs robinson

― lag∞n, Wednesday, January 15, 2014 11:46 AM (3 minutes ago) Bookmark Flag Post Permalink

And if someone other than Evan Dando was their singer.

yeah its a shame
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about ray

was fincher the first guy to decide that cgi needed to be used for absolutely everything just so itd be perfect

ha they felt like aunt whatsherface needed a more modest home in order to be interested in the scam

you know what's a great movie about male excess with great musical cues and striking imagery and zero CGI? All That Jazz. I just watched it again on Sunday, such an awesome movie.

r-scheid is incredible in that