Killers of the Flower Moon

This is an exceedingly difficult call to make. The issue right out in front: this movie is simply too long. The running time, combined with its languid pace, makes it a trial to keep focused on the story in its many beats. A healthy dose of economy in storytelling would have served the tale much better. Has this been a sweeping epic of grand scenes the length may have been forgivable, but this really is a much more intimate story than the largess implies. Also, lingering in the background of the whole thing is the sense that this is yet another example of Scorsese and De Niro making a big crime movie—practically to the point of seeing obsession in the repeated efforts. That interjects a feeling that we’ve seen all this before, in a sense, and dulls the feeling of there being anything truly fresh here. Finally, I note that the score features throughout a pulsating drum line—likely the contribution of the film’s musical director, the late Robbie Robertson—that may convey tension and drama...in smaller doses, but that starts to get on the viewer's nerves after a while. So much for the negatives. On the other hand, the performances are very good, everything looks fantastic—including the recreations of the 1920s milieu—the script is solid, with lots of great dialogue, and above all, this is a fascinating story that deserves to be told. It just should have been told with a little more brevity. If you have patience and are willing to make the big commitment this film requires, then I think it is worth a recommendation. But just know going in that you will be asked to sit and focus on this subject for a very long time in order to take in its full measure.

The Wolf of Wall Street

Pretty standard issue Scorsese. Very high energy, actors chewing the scenery, everything very Noo Yawk...It’s an entertaining template, for the most part, but not nearly as great as his apologists like to believe. Case in point: at around three hours this film is way too long. How many orgy/drug-fiend scenes do we need to see to get the idea that your guys are debauched? We get it; in fact, we got it the first five times. There’s so much nudity here that the viewer wonders if there’s actually a comment intended in it, some sort of meta-criticism of movies...but maybe Scorsese just wants to show us a lot of tits and bush. It’s hard to say. And ultimately, what’s the message? “Chickens come home to roost”? Not sure about that, not based on the ending. I leave you to sort out the muddle on your own.

Hugo

Martin Scorsese finally discovers subtlety. It's worth noting, perhaps, that if even one of the characters in this movie had simply told the honest truth from the beginning, much trouble could have been averted. Then again, we wouldn't have had much of a movie. And this is much of a movie: a wonderful, deeply involving--at times riveting--story about life, hope, and redemption that also makes a powerful case for the director's pet passion of film preservation. The film's look is gorgeous; the 3D aspects, even in a 2D presentation, never overwhelm the storytelling. And pitch perfect performances from the terrific cast (even from Sacha Baron Cohen's almost over the top station inspector) bring the story alive and make for a deeply affecting movie experience. A must see.

The Departed

The good news: Scorsese put together a hell of a cast for this film. The bad news: it was Scorsese directing them. This movie neatly exposes and sums up the Scorsese problem: a technically fine film that lacks something, or is off-putting in some crucial way. That aforementioned cast is a case in point: as in all this director's movies, everyone throws himself too forcefully into his role; you can practically see the actors look at the camera and say, "Check out how intense I make this scene." The effect is not one of intensity, but of actors trying too hard (at best) or chewing the scenery (at worst). And it's up to the director to reel that in and hit just the right note. As usual, Scorsese doesn't do that here. And the movie is consequently less than it should be.

The Aviator

A technically superior movie, to be sure. But also a strangely disjointed film. It's time and place--Hollywood's Golden Age--has never seemed so alien, almost otherworldly, despite having appeared in countless period pieces. Something seems to be missing, or not captured properly. The film also suffers from a casting faux pas; despite a strong roster overall, DiCaprio seems miscast as Howard Hughes--he's too young through most of the film, even for Hughes's early adventures. And while there is an interesting story element buried within the flash and dazzle--an underdeveloped statement about obsession and achievement that could have been enlightening--the pieces never come together to make the whole truly engaging. A near miss.

Shark Tale

Here's a prime example of how familiar voices are distracting in animation. The story would have played much better with less famous actors supplying the sounds. And, of course, a little more "snap" in the story would have helped. There are good moments, but too often the story...flounders. (I know, I know...) On the other hand, there's nothing egregiously wrong here, and some fun can be had, if you don't expect too much. It's probably not worth the price of admission (or a download), but let's call it a decent "catch it on a rerun" show.

Gangs Of New York

Best Picture? No. But it certainly isn't bad. The production is lavish and first rate. And Daniel Day-Lewis is simply extraordinary as Bill the Butcher; the movie is worth watching just for his performance alone.

Goodfellas

A qualified approval. The movie is entertaining enough, but it's not as good as everyone says it is. I personally don't find criminals all that appealing. I know, I know, I'm swimming so far up stream against the current with this. Everyone loves this movie, but I just have my own personal thing where gangster movies just don't do it for me. And I'm not as in love with Scorsese as everyone else is. You can make your own judgment here on this one, and you will, but I simply wish to stand my ground: it's not that great. Just OK.