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208.58.2.83
Resoundingly, yes.You WILL go see it anyway, so let me just offer a couple caveats:
-- The Leo DiCaprio character way too conveniently is assigned to this one psychologist; let it pass.
-- In the shootings at the end -- that's not giving anything away is it? -- I mean, this is Scorsese -- either the director or the editor has so mistimed the last gunshot that half the audience breaks out in laughter. Nervous laughter, granted, but it shouldn't be funny and it was. Bad miscue; let it pass, but be prepared.
Speaking of cutting, Thelma Schoonmaker has done it for Scorsese since 1980 and I can see her handiwork. While the presentation is not linear, neither is it convoluted; and the early confusion one has between the Damon and DiCaprio characters was, I think in retrospect, intentional and worthy.
How many deserving Oscars? Can you count to thirteen? Trouble is, should Damon, DiCaprio, or Nicholson get the lead male nomination, or all three? (My opinion: Leo DiCaprio has now joined the short list of the very greatest actors.) Should Wahlberg, Sheen or Baldwin get the supporting male, or all three?
Oh, another caveat: Lots of the f-word, but played either for humor (and this is a very funny movie) or for drama -- I was never offended by it, although I am apt to be. Ditto the bloodletting. Neither element seemed gratuitous.
Boston: While much of the film was shot elsewhere -- did I read Romania? -- the city contributes its presence in a family way: micks and goons and Church and State. The criminal neighborhood we know fondly as Southie was shown in all its desolate glory of maybe fifteen years ago, especially the waterfront warehouse area where for twenty years (until 1990) I operated The Listening Studio. The buildings are real, the stairwells are real, the rooftops are real -- I've been in and on them all, the very location where the dramatic denoument of the movie occurs.
And I was reminded of an episode that occurred in 1983. I was on the phone to Brian Cheney when gunshots rang out. From the window I saw a Ford screech to a halt maybe fifty feet below my second-story window and three guys pile out, guns ablaze at the two police cruisers coming up the street. Both those cars slid into 90-degree turns to block the road and proceeded to fire away. By this time I had ducked below the window sill with occasional pop-ups to check the action (like in the movies) at the same time giving a full play-by-play report to Brian.
The bad guys (bank robbers, it developed) were soon subdued.
Life... movies...
clark
Follow Ups:
No. Doesn't deserve to be compared to "The Godfather"This movie barely rises above the ordinary. Not a single memorable character much less a character I could like/dislike or identify with. Everyone was very actorly, hardly more. Wahlberg, much as I want to like him, was a one-note player here. Nicholson, a longtime favorite, simply chews on the scenery. I had the feeling that he was just fading out from the all the effort toward the end.
Those other two customary scene-chewers, Sheen and Baldwin, get higher grades from me for their restraint and humor. Poor Ray Winstone... he just becomes as the wallpaper. Watch him in "Sexy Beast" Hell, watch "Sexy Beast" period. The British do a much better job with this kind of film altogether. Scorcese should stick with doing Italians.
Oh, we know it's an Irish mob film because they tell us they're Irish. And they have those cute accents. Nowhere is there a hint of the kind of complexity of ethnic culture that is at the very heart of "The Godfather".
DeCaprio and Damon "whatizname" are again forgetable except for their inordinate onscreen time. Sorry they just can't yet carry a movie. I like them both better in roles that require less hubris. Think "....Mr. Ripley". The female love interest and the whole triangle thing were altogether superfluous.
Very difficult storyline to edit, I imagine, and I give this aspect of the film the same average grade. Scene cuts to convey the passage of time were often very awkward. When DeCaprio pounds hell out of the Providence hoods ( a great scene, by the way), he complains about his hurting right hand; moments later they're putting the cast on the left hand. Sloppy oversight. There were other storyline cues which occupied significant screentime but which then were simply dropped. Sloppy.
Script: mediocre. Lotta excess words and scenes which didn't serve the progress and clarity of the story.
I remember having a similar impression of the original; an interesting premise but it expects too much of the audience. Just got too fantastical. Like trying to condense a novel into a whizbang short story. All the clandestine telephone messaging in plain sight? C'mon. This seemed to be more believable in the original. The original did a better job, even in a foreign language, of setting up the two end "surprises" so that it wasn't a cheap resolution. Here, I felt like they were just tying up loose ends. Cheap.
Didn't appreciate the commercial product placements, either. Soft drinks, cars, restaurants.
I'm glad I saw the movie. I'm just disappointed that with all this star-power and public hype, it should have been better. Everyone associated with this film has done much better work. I didn't hang around for credits but did see on the way out that one of the executive producers is Brad Pitt. Explains a lot. This is an American pop film. It will fade quickly
ddd
Forgot to mention the MacIntosh gear in Damon's apartment. I don't object to that as strongly as a can of Coke, even though it was a very obvious placement feature. Wonder how much Mac paid for that?By the way, I really enjoy and appreciate all the insight and comments in this section. Clark, Nico. Tin, Victor, others. I learn a lot and get a lot of good tips on films I would not otherwise consider.
Mostly, I just love film. As much as music, even. I'll watch a bad movie rather than do without.
Thanks, DZ.
I am usually with you on reviews. I agree with those below that have not liked Scorcese's last few movies, especially the Aviator.First off, this is a remake of "Infernal Affairs". Has anyone seen that movie and, if so, how do they compare?
Second, this is a return to home turf and safe territory for Scorcese which is too bad. The movie starts off really well and, I can't help myself, I really loved Mark Wahlberg's performance in this movie even though it could be seen as sticking out like a sore thumb. I also will say that Leo's performance is pretty darn good too. The rest, I'm not so sure of. Matt Damon was serviceable but I didn't see anything he hasn't done before. Ditto with Jack who unfortunately is becoming a Pacino like ham in almost every role he does.
Finally, the movie was overbearing and long. The ending was sledgehammer like and unsatisfying to me. I really liked the start and wanted to stay with it but it wore me down. The Godfather was more lyrical, like an opera and kept you in the game which is why this movie doesn't really have it.
Z
...A total masterpiece from beginning to end.And the use of music, particularly the Stones' Gimme Shelter was inspired and galvanizing.
Wahlberg should have the Best Supporting Actor Oscar totally sewn up though it is a shame to have to not give it to Sheen and the guy who played Mr. French.
Best Actor Oscar has to go to DiCaprio though, again, it's really a shame to have to slight Nicholson and Damon.
All just superb is a movie that simply pulses with vibrancy and authenticity. Particularly astounding given some of the far fetched plot assumptions.
Brilliant!
*** I Feel Strongly Both Ways ***
I've gone to all of his movies and have been VERY disappointed with his last few efforts...Overly long in duration....I haven't been really impressed since The Age Of Innocence. He has IMO self-appointed himself as the modern day Orson Welles and it would seem as though the press has played into his fantasy....I like Scorcese when he steps out of his "comfort" zone...New York, New York...The Age Of Innocence...The Last Temptation Of Christ...The King Of Comedy...he HAS taken some risks in his directing career...I guess I wish he would push the envelope a little further sometimes...IMO I've seen enough "thug" & "cops & robbers" from him to last me a lifetime!!!!
You didn't mention "Raging Bull", which many consider the best film of the eighties. Ditto "Goodfellas" for the nineties. Agree you, though, on "Bringing out the Dead", Kundun", and "Gangs of New York".
nt
*** I Feel Strongly Both Ways ***
I always thought Gangs Of New York died on the cutting room floor. One day there might be a director's cut but I suspect it could be 8 hours long. Aviator was enjoyable but seemed thin to me again it might have made a better mini-series...
"Goodfellas" was the best film of the 90s.
No redeeming characters, unceasing violence and murder for a "plot."
"Raging Bull,"Goodfellas," are ugly, pessimistic and amoral visions of the human condition. Yes, they may be "realistic" as far as the people they portray, but who cares about such scum? Really. They are "Schindler's List" without... Schindler. "Art" that paints such a hideous picture is minor.
Saw down below that you had seen Infernal Affairs. I missed that one. How do they compare?
Not from Scorsese.Quite the reverse.
From my own perspective, althought I admire Scorcese's prowess as a filmmaker, I'm not really drawn to watching the films you list on a repeated basis. Certainly not the way I'm drawn to the films of countless other directors.I, too, would like to see something uplifting and life-affirming, rather than squalid, mean-spirited, violent, etc., etc.
But...Violent though they may be, I would never EVER say Scorsese's films are mean-spirited or squalid. I hope you mean the characters in the movies and not the films themselves.
I am quite OK if you prefer to watch uplifting and life-affirming movies. People want different things from their movie experiences.
But I like to watch great films, movies that probe and push the limits, so some of those films *will* deal with the dark side of human nature: obsession, greed, guilt and betrayal. Scorsese's passion and feeling pulse through his films. I'm always puzzled when people don't see it. But such is life.
BTW, it's Scor S ese with an "s"!
FWIW...I think Raging Bull IS his finest film...the other films I mention go against the grain...For instance New York,New York was shot entirely on the sound stages @ MGM/Sony Studios...the New York sets were recreated in the 40's method before location shooting...In NY/NY DeNiro gives his most understated/nuanced performance of his career (see Falling In Love for another example)...he IMO was overlooked by the Academy for that film unjustly....
I HAVE seen "Falling in Love" and it is a long time favorite. Both he and Meryl gave wonderfully realistic performances.
Meryl was very good as well...
As usual, excellent comments, dead on. I did not notice the ill timed gunshot at the end. But I was mesmerized all the way through. The editing is really at the service of the story this time with no overt shanannagins involving over long tracking shots, retc. Good points re the Best Actor and Supporting Actor as they are ALL so good. Knowing that a lot of this was filmed elsewhere (I heard New York City) I was surprisaed at how "Boston-y" the locales were. Damon of course has the accent down pat but the others either didn't try it or were passable (always a bugaboo for me in New England films). I too was a bit confused by who was Leo and who was Matt at the begionning but I agree that this is intentional. I can hardly wait until the DVD is released as I want the chance to see it again at leisure and then analyze it until kingdom come. Easily the Best Picture (OK, so far) of the year. Thanks, Clark.
d
This really is an unexpected pleasure- Scorcese seemed to be coasting a little bit, Di Caprio has always seemed lightweight to me, Nicholson has turned to comedy. Yet everyone was at the top of their form...if this may not be Scorcese's best ever, it is close, same with Nicholson- and the leads, Di Caprio and Matt Damon are serious actors in a way I've never seen. From the intricacies of the plot (I never saw the original) to the visuals, to the expletive filled dialogue that sometimes rises to a sort of urban poetry, this long movie had me absorbed into its world. Yes, the ending is somewhat flat. But this is sure to be considered a classic.
... here on Thursday.
I shall be in this weekend. I have to wait as my ex is in town for the weekend and wants to see it.
The swearing and the blood... that should bring back memories...
...I had gone to the Fenway Theatre on a spur-of-the-moment suggestion from my old bud Nick. Afterwards we adjourned to the Boston Beer Works just down the street and across from Fenway Park; on the screen was the fatal, final playoff game between NY and Detroit. At the moment the Yanks were humiliated, cheers went up worthy of a big Red Sox win.And in truth, it was a Red Sox win.
Johnny Damon, quoted in the morning papers: "But we still had the best team."
Suck on it Johnny.
clark
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