The Wolf of Wall Street (new Scorsese)

lol xp

im being so misconstrued itt, its not fair

sending Kyle Chandler to talk to you on your yacht, lag.

It was said up thread but that yacht scene was just, wow: from genial jousting to GET THE FUCK OFF MY YACHT

im just an honest appreciatior of film who likes fleshed out multidimensional characters decisive plotting

on the yacht he was more mad at himself than anything

Maybe it's just cuz of the little Kyle chandler stuff I've seen but during his initial cutaways I was like "ugh that dude is always a Boy Scout/FBI agent" and then when he finally gets some lines his slow burn fuck you to Leo was pretty unexpected and awesome. Loved the ambiguity of his subway ride too.

yeah the yacht scene was great

Didn't Kyle keep calling it a boat, too? Or do I misremember?

ha yes totally messing w him

ever been on one of these before
what a boat

Lagoon I bet you'll like this more the second time when you can focus on the sweet stuff and get over wishing it was something more. I was like that with Pineapple Express.

i enjoyed the movie a lot actually, but def i feel like it couldve been great

pineapple express was good too

also, unzip when Margot is onscreen

xxp

the prospect of watching this a second time is a circle undreamt of by Dante.

plz the only dante you know is joe dante

I'm psyched to see it again, idk.

This is gonna be a+ pay cable channel flip fodder - and the kids will like it too!

dang kids

the next time i see this thing it will be on tv and since i can't imagine it will work edited for television (unlike the departed and obv unlike goodfellas which in some ways you haven't truly seen until you've seen it edited for television) maybe not even then. if you don't get margot in the doorway what's the point, you rob the movie of its nuance and subtle charms.

its true this movie has so many subtle boobs in it

thinking that a big part of liking this but not really caring once I walked out was that I just don't dig Leo.
the yacht scene was undermined because all I see is squinty Leo DiCaprio playing his usual part - when he tries to get FUCK YOU vicious it's just a big Pussy Posse kid throwing a fit (which, I guess, is true to the character but boring)

The Departed was not that good but had Marky Mark, Alec Baldwin and Jack hamming it up to distract from Matt Damon
Jonah Hill is no Marky, Alec or Jack.

distract from Matt Damon and Leo being boring

mother of god at the thought of jack saving the departed

I thought this was decent, nothing more—some interesting stretches but some incredibly dull ones as well. Also way too long. Better than any of Marty's non-doc work lately, but that really does not say much.

A lot of the comedy here—such as the excruciatingly long quaaludes scene—seemed like it was repurposed from a Hangover film. If you gave Todd Phillips the same script, I think he'd make nearly the same movie, save for a few music cues.

Todd Phillips could've brought it in under 2:45.

Todd Phillips would surely have injected that much needed dose of morality. But he knows his stuff:

http://upload.wikimedia.org/wikipedia/en/1/10/Frat-house-1998-rare-todd-phillips-banned-documentary-7d52f.jpg

The hand wringing about morality or lack thereof reminds me, very loosely, of the Errol Morris story of screening "Mr. Death" at Harvard, and having enough students leave questioning the Holocaust that he felt compelled to throw in a few talking heads saying, yes, the Holocaust happened, and yes, it was bad. Because some people need to be told, I guess. Or, I dunno, my fave commentary by Paul Verhoeven, yelling about critics calling "Starship Troopers" "fascist." "The protagonists, they are Nazis! They are bad!!!! Bad!!!!!"

Like I said upthread, only an asshole could watch these assholes and think, man, these are cool guys, not assholes, I want to be just like them.

Showgirls is long too, but at least it's fun to watch throughout.

and it showcased its nineties kitsch just as flashily

"I never fly without my lucky hat"

Appross of nothing, just popped into my mind for some reason

do you think '90s pennystock brokers really knew the Freaks singalong?

I always think that when it shows up in a movie or show, which means I've thought that dozens and dozens of times over the years. They might not know what it's from, but the phrase itself has achieved ubiquity through cultural osmosis.

do you think '90s pennystock brokers really knew the Freaks singalong?

Maybe these dudes, because, OMG, actual midgets and freaks and retards and shit, lol

The retard child discussion was something else, just incredibly uncomfortable

Needed some Flashpoint/Steel Wheels.

https://pbs.twimg.com/media/BdFqL09IUAAgsO7.jpg

Here's a story
Of a guy named Leo
Who was turning into Marty's favorite muse...

those are from when he was living on the streets right, before the seavers took him in?

middle row, far right <3

lol xp

thought this was kind of fascinating. sure it's a lot like Goodfellas but almost a "late style" twist on it.

the dual perspectives of the drive home from the country club struck me on this first viewing as a code for watching the movie as a whole. the little grace notes of melancholy (the one about Mozart sticks with me for a reason still inexplicable to me) is what really put this over the top.

also Leo's speeches were like a kind of corrupt secular gospel in their fire and brimstone.

^ I've been trying to figure out which scenes cannot be seen as purely being from Jordan's POV or retelling. So far out of the scenes mentioned above (FBI dude on the subway, slit wrists, etc.) the only one that doesn't really square in my mind is how Scorsese shoots the office assistant having her head shaved, the camera lingers a little too long on her during the scene and it's hard to reconcile w/ Jordan as amoral psychopath, you have to believe he's actually a sadist

to put it more pointedly: belfort is the fucking antichrist. the invocation of the "Buddhist Amish" seemed weighty in the sense that no one can imagine a way of life that involves moderation. the expectant faces at the end were kind of crushing.

yeah i'm feeling that.

I'm willing to say that Jordan sees those things too. he unwittingly reveals them to us. hints of what drives him a la Ahab (another secular "hero")

^ I've been trying to figure out which scenes cannot be seen as purely being from Jordan's POV or retelling. So far out of the scenes mentioned above (FBI dude on the subway, slit wrists, etc.) the only one that doesn't really square in my mind is how Scorsese shoots the office assistant having her head shaved, the camera lingers a little too long on her during the scene and it's hard to reconcile w/ Jordan as amoral psychopath, you have to believe he's actually a sadist

― 龜, Monday, January 6, 2014 7:46 PM (11 minutes ago) Bookmark Flag Post Permalink

i kinda can't get with this, though i think you're right. i haven't really got into the writing about this yet but what i gather are the general charges, of the film's lack of moral stance, are frustrating because they forget the film's kinda basic constitution; adapted memoir, the voice and mind and perspective of the protagonist. & i feel like it's really loyal to this; there are even parts of its basic cinematic fabric - like, say, stretching leo between a 22 year old to the older, wearied, infomercial-rendered self - that it commits to & won't indulge in deviating from, not stopping to note the difference or dwell on the frame, the changes, &c. it's purposefully solipsistic, i think, & trusts us to do the rest. i'm kinda arguing against myself here because there are scenes in which this is probably demonstrably untrue, jordan is not there, but i think in limiting itself to jordan it kinda covers its bases; i don't need to make following the detective onto the subway a figment of jordan's imagination but it nonetheless feels part of his universe, rather than part of a panorama of clashing perspectives, &c. i feel okay about incorporating the secretary/head-shaving scene into this - leo's kinda distance from this scene, engineering it while leaving it, kinda aware of the chaos without being part of it - played to me like just a display of his acumen, his "to the manor born" relationship to the grunts he kinda drafted into his vision.

also apropos of nothing i feel like more frequently it is hard to deal with the complexities of film when there are such messy, instant narratives bouncing around from instant reactions. like i am starting to feel defensive of this film just because charges like its lack of puritanicalism feel so wrong. it's such a weird, messy film. like even the edit feels off, occasionally - the slightly-too-long scenes, sure, but just moments toward the start, its inelegant integration of source material (the shoe ad, &c). but like i think dayo said it's kinda made by its excess, every set piece is totally excisable but what makes the film good. also i really dug naomi in it, i don't know who played her but she was excellent. also jonah hill. also just make all movies just jonah hill & leo buddy comedies now. also all elbows-out male performances now are just shades of unavoidably-evident-hair-thinning-'80s-nicholson -ism, now, aren't they.

Good stuff schlump