The Wolf of Wall Street (new Scorsese)

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

one of my all time favs

about 30secs in to george benson's "broadway" in the opening scene is when i was sold

sorry, we dont have an All That Jazz thread, i just wanted to talk about it somewhere

you just reminded me I needed to rescreen it so thank you, gr80.

All That Jazz - 1979 (starring Roy Scheider, dir. by Bob Fosse)

Oh, and Jimmy Castor Bunch!

― Josh in Chicago, Sunday, December 29, 2013 5:32 PM (2 weeks ago) Bookmark Flag Post Permalink

This bit floored me while blowing my mind. Up there with "Magic Bus" (or "Atlantis") in Goodfellas or "Jumping Jack Flash" in Mean Streets or "I Ain't Superstitious" in Casino.

or Rubber Biscuit in Mean Streets.

this movie was funny as hell. flagged a little in the third hour but I think every movie is too long basically.

not a McConaughey fan really but his restaurant scene at the beginning was great

the argument over intentions is weird to me, you can have a movie about a rich thieving douche shot from the douche's perspective that you watch and are entertained by, and with your critical faculties you observe "wow, that guy was a douche"

weinstein cut included michael moore voiceover

Jimmy Castor Bunch cue just confused me; as with the Lemonheads, there's no intuitive reason to put that song with that scene.

the use of music seemed kinda - excusably - aphasic, to me, like there was just no regard for its form and it was entirely treated as just raw material with which to condition the energy level of a scene, like slapping benny goodman over a dance scene or something. a lot of the music in this was garbage but it was usually effective.

the party scene with the marching band, confetti, booze, hookers and head shaving was some shit. love shots like that where a million things are happening in the frame. (when it works)

a lot of the music in this was garbage but it was usually effective.

I don't think those songs are garbage

try listening to that Irish pirate punk song outside the context of the Departed tho haha

yeah i remember talking to some folks after seeing the departed one dude remarked somberly that "he made me like the dropkick murphys for a second"

Jimmy Castor Bunch cue just confused me; as with the Lemonheads, there's no intuitive reason to put that song with that scene.

― eclectic husbandry (Dr Morbius), Wednesday, January 15, 2014 1:22 PM (19 minutes ago) Bookmark Flag Post Permalink

Exactly. It's like "Atlantis": why the fuck is this song playing over this scene (as someone behind me in the theater said out loud when I first saw Goodfellas)? I dunno, but it's just crazy enough to work.

yeah i remember talking to some folks after seeing the departed one dude remarked somberly that "he made me like the dropkick murphys for a second"

― goole, Wednesday, January 15, 2014 1:38 PM (8 minutes ago) Bookmark Flag Post Permalink

ha yeah its pretty magical

nope xp

tho making the dropkick murphys sound like a good idea is some kind of achievement

― geoff (gcannon), Tuesday, October 17, 2006 11:33 AM (7 years ago) Bookmark Flag Post Permalink

;)

http://www.quintessentialpublications.com/tracyrtwyman/wp-content/uploads/2011/12/time.jpg

xpost Haven't read about CGI in this movie, but Fincher's had pretty good reason to use it in his films. All the floor-to-floor tracking in "Panic Room," for example, would have impossible, and in "Zodiac" he has a really good point that getting all the period stuff right, from the skyline to street corners, would have been prohibitively expensive or impossible without CGI. And then, CGI sets and whatnot afford multiple takes without having to reset everything; certainly this has been revolutionary in horror movies that don't have to deal with sticky, stinky fake blood as much.