Mean Streets by Martin Scorsese |Martin Scorsese, …

The King of Comedy follows Robert De Niro's Rupert Pupkin, a mentally-unbalanced aspiring comic, as he kidnaps a famous talk-show host (Jerry Lewis' Jerry Langford) and holds him hostage, with the movie revolving around the battle of wills that subsequently ensues between the two men. It's clear immediately that director Martin Scorsese, working from Paul D. Zimmerman's screenplay, is looking to cultivate the atmosphere of a subdued character study, as the filmmaker places an ongoing emphasis on De Niro's seriously disturbed figure and details Pupkin's cringe-worthy day-to-day activities. (The latter is made emblematic by a fantastic stretch in which Pupkin repeatedly visits Langford's office, to progressively disastrous results.) The movie's watchable vibe is undoubtedly heightened by De Niro's consistently transfixing performance, with the actor stepping into the shoes of his thoroughly compelling character to a degree that's never anything less than captivating. It's just as clear, however, that Scorsese's low-key sensibilities pave the way for a second half that's not as engrossing or engaging as it should be, with the movie ultimately building to a padded-out final act that's lacking the punch Scorsese is clearly aiming for. (The film's conclusion, however, is just about perfect in its ambiguity.) The end result is an erratic yet rewarding little drama that remains a high-water mark in terms of De Niro's onscreen work, and it is, for the most part, not difficult to see why The King of Comedy has become something of a cult item in the years since its 1982 release.

Mean Streets, Directed by Martin Scorsese : Film …

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The Films of Martin Scorsese - Reviews by David Nusair

A bloated yet sporadically electrifying drama, Taxi Driver follows Robert De Niro's Travis Bickle as he becomes increasingly disillusioned with New York City's sleazy decadence - with the movie charting the mentally-unbalanced character's descent into aggression and violence. Filmmaker Martin Scorsese does a superb job of immediately luring the viewer into the proceedings, as Taxi Driver, which kicks off with an engrossing job interview sequence between Travis and a gruff personnel officer (Joe Spinell), boasts a fairly mesmerizing opening stretch that's heightened by De Niro's commanding performance and Scorsese's inventive, eye-catching visuals. The movie's subsequent transformation into a thoroughly subdued character study is jarring, to say the least, as Scorsese and scripter Paul Schrader deliver a midsection that emphasizes De Niro's character's low-key, day-to-day exploits (eg Travis attempts to woo a local campaign worker, Travis makes small talk with a porn-theater employee, etc, etc). Scorsese does, however, keep things interesting by emphasizing a number of palpably enthralling interludes, including an impressively tense sequence in which Travis picks up a man (Scorsese) convinced that his wife is cheating on him, and it's clear that the violent third act packs just as potent a punch today as it surely did back in 1976. It's equally clear, unfortunately, that Taxi Driver suffers from a progressively meandering narrative that grows more and more problematic as time progresses, with, especially, the third-act subplot involving Travis' friendship with Jodie Foster's young prostitute fizzling out long before it reaches its inevitable conclusion - which, in the end, ensures that the film never quite becomes the consistently hypnotic endeavor one might've expected and hoped for.

Martin Scorsese Top 15 Movies: ‘Mean Streets’ to ‘Wolf …

A typically underwhelming early effort from Martin Scorsese, Alice Doesn't Live Here Anymore follows single mother Alice Hyatt (Ellen Burstyn) as she attempts to start over with her young son (Alfred Lutter's Tommy) after the death of her husband. Scorsese, working from Robert Getchell's script, kicks Alice Doesn't Live Here Anymore off with a bizarre yet attention-grabbing Wizard of Oz-inspired opening sequence, with the entertainingly bonkers nature of this sequence hardly preparing the viewer for the dull, frequently interminable drama that follows. The overly familiar nature of Getchell's screenplay is certainly the most obvious source of the film's downfall, as the been-there-done-that character-study vibe is compounded by Lutter's seriously annoying performance and an ongoing emphasis on thoroughly tedious episodes (eg Alice attempts to find a job, Alice attempts to find a man, etc, etc). Burstyn's solid (yet often histrionic) turn as the title character is ultimately rendered moot by the pervasively uninteresting atmosphere, and it is, in the end, impossible to discern just what drew Scorsese to the hackneyed material in the first place.

Casino Script taken from a transcript of the screenplay and/or the Martin Scorsese movie

What Are Martin Scorsese's 10 Best Movies? - ThoughtCo

This website is dedicated to providing information on our personal views on the top films directed and or produced by Martin Scorsese a film genius who we truly admire. This independent fan website is not affiliated with Martin Scorsese and are views held on our own. This is a non-profit website and aims at providing our view on what we think are the top films he’s been involved with over the years.

With Robert De Niro, Harvey Keitel, David Proval, Amy Robinson

The Wolf of Wall Street follows Leonard DiCaprio's Jordan Belfort as he ascends the ranks within the financial sector to eventually become a Gordon Gekko-like power player, with the movie detailing the character's exploits alongside a cast of unabashedly off-kilter supporting characters - including Jonah Hill's Donnie, Margot Robbie's Naomi, and Jon Bernthal's Brad. It's clear immediately that The Wolf of Wall Street marks a significant departure for filmmaker Martin Scorsese, as the movie boasts a freewheeling, lighthearted feel that one doesn't naturally associate with the venerable director - with the gleefully over-the-top atmosphere, which is reflected in everything from the performances to the dialogue to the visuals, ensuring that the movie is, at the outset, as watchable and engrossing as anything Scorsese's done in the last couple of decades. And although DiCaprio's almost remarkably captivating performance remains a highlight throughout, The Wolf of Wall Street suffers from an erratic sense of pacing that inevitably cancels out its positive attributes - as Scorsese, along with editor Thelma Schoonmaker, has infused the proceedings with a rough-cut feel that grows more and more problematic as time (slowly) progresses. There is, to an increasingly palpable degree, a lack of momentum here that's nothing short of disastrous, with the movie's hands-off vibe compounded by an emphasis on overlong and entirely needless sequences (eg Jordan and Donnie's bad trip on old quaaludes seems to go on forever). The inclusion of a few admittedly captivating interludes (eg Jordan meets with Kyle Chandler's straight-arrow FBI agent) alleviates the otherwise uninvolving atmosphere and cements the movie's place as, at the very least, a somewhat watchable piece of work, and yet given the massive amount of talent both in front of and behind the camera, The Wolf of Wall Street ultimately can't help but come off as both a massive disappointment and a missed opportunity.

10 Mean Facts About 'Mean Streets' | Mental Floss

Martin Scorsese's directorial debut, Who's That Knocking at My Door follows Harvey Keitel's J.R. as he meets and falls for a local girl (Zina Bethune) and eventually asks her to marry him - with a tragic revelation from said girl's past throwing J.R. for a loop and causing him to question the entire relationship. There's ultimately no mistaking Who's That Knocking at My Door for anything other than a low-rent and hopelessly uninvolving first feature, as writer/director Scorsese delivers a narrative that's almost oppressively light on substance - with the bulk of the proceedings detailing J.R.'s aggressively meandering exploits alongside Bethune's character and a host of rough-around-the-edges male friends. It's clear virtually from the get-go that the scenes between Keitel and Bethune's respective figures suffer from the actors' palpable lack of chemistry together, and it doesn't help, certainly, that Scorsese's screenplay is heavy on meaningless small-talk dialogue that drains the energy out of the proceedings on a consistent basis. And although the first-time filmmaker has peppered the movie with a small handful of appreciatively stylish sequences (eg J.R. and his buddies' slow-motion rough-housing), Who's That Knocking at My Door is simply (and finally) unable to wholeheartedly establish itself as more than just a run-of-the-mill, far-from-accomplished student film.