The Wolf of Wall Street

2014, 18, Directed by Martin Scorsese  
Starring: Leonardo DiCaprio, Jonah Hill, Margot Robbie, Jon Bernthal  

You'll realise the moment The Wolf of Wall Street begins that your life has been lacking a Martin Scorsese film for quite some time. In fact, you’ll find yourself counting your fingers to discover that The Departed - the last time Marty dealt an 18-certificate, y'know, Scorsese film - was unveiled in 2006 (not to detract from criminally overlooked Shutter Island or Hugo - his mesmerising modern classic for all ages). But with this film, it's fair to say he delivers debauchery in a way we have never seen the directing maestro dabble in before - yes, The Wolf of Wall Street is a sweary (with its record-breaking amount of F-bombs), drug-fuelled, sex-addled trip seen through the eyes of Jordan Belfort, a young businessman corrupted upon his rise to respected stockbroker in Wall Street. It almost goes without saying Belfort’s shoes are filled by Leonardo DiCaprio, an actor so at the top of his game, you’d be hard-pressed to imagine him not being there. After four films under the guidance of somebody who has undoubtedly left their imprint upon cinema as we know it, it’s taken this fifth outing to reach the seismic heights of, dare it be whispered, Taxi Driver.

Terence Winter (creator of HBO’s Boardwalk Empire) handles script duties, delivering a 3-hour doorstop of a screenplay, providing opportunity for opulence; Belfort - based on the real-life counterpart - leads a team of disciples who hang onto every word of his many power speeches, marries a trophy wife (rising talent Margot Robbie - fresh from an appearance in About Time - a long long way from Cornwall) and lives a life of luxury. Belfort's progress is tracked from wide-eyed Wall Street whippersnapper to wealthy titular wolf by way of his first boss, Mark Hanna - Matthew McConaughey in an extended cameo near the film’s start which remains a solid highlight by the end. Before too long, crime and corruption is as much a part of Belfort’s day as are stocks and shares, assisted by his memorably bespectacled close associate Donnie Azoff. Played by Jonah Hill, this progressive actor offers terrific support for Leo, the two striking chemistry not entirely dissimilar to the Liotta’s and Pesci’s of Scorsese’s back catalogue - none more so than in a scene involving the pair scoffing pills, only for the effects to rain down on them with hilariously slapstick results - a slacks-wearing DiCaprio especially impressing in a scene that re-defines his career all over again.

The entire cast embrace everything they're expected to do, making it tough to consider how this was once a film Hollywood didn't want itself tagged to. A who's-who cast of recognisable faces - Jon Bernthal (The Walking Dead), Kyle Chandler (Friday Night Lights), Jean Dujardin (The Artist) and Joanna Lumley (needs no introduction) all wade in when the scene requires - as well as cameos from fellow directing peers poking their noses in every now and again; Scorsese is as much a director's director as he is an actor's.  

Part black comedy, part crime biopic, The Wolf of Wall Street is a cautionary opus; to criticise the film for ignoring the detrimental effects these money-grabbing crooks had on their unsuspecting victims (as many have) is one hell of a patronising notion, not to mention one that misinterprets the film. More fool them. To not enjoy this film would be as criminal as the on-screen antics. Its cross-generational scope conveys the sense that it will be around forever... the kind of film watched over and over by University students on lazy Sundays, and parents once their kids have been sent to bed - one that completes the perfect Scorsese movie marathon alongside his esteemed classics. With this running time though, you'd best prepare for an all-nighter. Knock half an hour off, this'd be getting 5.
  

4.5/5

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Oscar Best Picture Rundown #6:

LIFE OF PI 

Out of all the nominees, Life of Pi has hauled in the most money at the box office, Ang Lee’s translation of Yann Martel’s ‘unfilmable’ novel proving – after all – very filmable, and equally as watchable. A success for all ages, its Oscar recognition was probable, especially in the technical categories. Ang Lee himself notched up a third nomination in the Directing category (his previous for Crouching Tiger, Hidden Dragon and Brokeback Mountain - the latter for which he won.) Wholly deserved, he proved with Life of Pi he could juggle a huge budget, whilst dabbling in the realm of 3D – and still deliver a visually-awesome crowd-pleaser. Would have loved to see Richard Parker nominated, alas.

Will it win?

Considering my money is on Ang Lee to take the Best Director award from under Spielberg’s nose, its chances are raised… However, I’m sold on the fact that this year the winner of Best Director won’t be won by the filmmaker behind the Best Picture – so, its chances dwindle with that in mind. It has the Hugo appeal, but that film didn’t quite pip The Artist to the post last year.

Film: 4/5 
Chances of Winning: 3/5


Read my Life of Pi review here

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Oscar Best Picture Nominee Rundown:

The Artist

From the minute The Artist hit the festival circuit last year, it became apparent that this would be the film to beat come awards season. So far, Michel Hazanvicius’ love-letter to the Silent Era of cinema has lived up to this expectation - not just because of the self-reflexive way in which the film is actually a black-and-white silent (…well, largely silent), but because it is a truly magnificent watch, which plays around with the technicalities of film in a way that appeals to generations worldwide. The Artist really is the one to beat.

My Rating: 5/5

Chances of winning: 4.5/5

The Descendants

Whenever Alexander Payne decides to make a film (not as often as he should, that’s for sure), Oscar always pays attention. The Descendants sees no difference, emphasised even more so by the star presence of George Clooney in what people are (boldly) claiming to be a career-best performance from the superstar. Merging darkness with hilarity, this is a truly worthy nominee with a sharp script, not to mention quality acting and skillful direction. This is the only film that could (but probably won’t) threaten The Artist’s chances. The big question is whether The Artist's Jean Dujardin will steal the Best Actor gong from Clooney...

My Rating: 4.5/5

Chances of Winning: 4/5

Extremely Loud and Incredibly Close

This be the only film on the list I have yet to see... From the initial response to its being nominated, I'm guessing its chances of winning here are not as strong as others.

The Help

The Help is a nice film. But nice doesn’t generally mean a nomination is deserved. Here is one of those films that is included by the Academy mainly due to the subject matter at hand, not to mention the fact that, when all is said and done, it is a bittersweet crowd-pleaser. Not that its recognition is entirely undeserved – both Viola Davis and (likely Supporting Actress winner) Octavia Spencer are certainly something to shout about – but at the expense of other films (Drive, Tyrannosaur, We Need to Talk about Kevin to name a few...), The Help is rather lucky to be here.

My Rating: 3/5

Chances of Winning: 3/5

Hugo

Martin Scorsese’s foray into 3D filmmaking knocked pretty much everyone for six upon release. Much like The Artist, this is heavily influenced by the creation of cinema – an art that Scorsese is clearly more passionate about than most. Winner of a single Oscar (for The Departed in 2006), Hugo has earnt him his sixth nomination for Best Director, pitting him against little-known French director Michel Hazanavicius for The Artist. It is common knowledge that the film of the winner of Best Director usually goes onto win the main award, so this is where Hugo's chances are really heightened, what with Scorsese winning at the Golden Globes in January. Either way, both films are awe-inspiring and it is truly apt that they have been included in this year's Oscar race.

My Rating: 5/5

Chances of Winning: 4/5

Midnight in Paris

Midnight in Paris is a breath of fresh air; a return-to-form for Woody Allen that critics and audiences loved in equal measure, it may have been an initial surprise to hear this film had been nominated, but when thought is paid its way, it is completely understandable. Well-written and acted (it has a nomination for Screenplay, but nothing for acting; sorry Owen Wilson), it also boasts Allen's first nomination for Directing since Crimes and Misdemeanors in 1989. Perhaps this is due to his refusal to attend the ceremony. As it remains, if there is one film that Woody Allen has directed in the past decade, this is the one that deserves to be here. Kudos to the Academy. 

My Rating: 4/5

Chances of Winning: 1/5

Moneyball

A project spurred on completely by its star Brad Pitt, Moneyball is a true rarity; a sports movie that isn’t really about what happens on-pitch, but about the true-life tale of how Billy Beane used the Oakland Athletics baseball team to find ambition in his own life. Perhaps this is why Moneyball is slowly enduring as a dark horse amidst the heavyweight contenders in this year’s Oscar race. (See The Artist, Hugo.) Rightfully so. One of two Pitt films in the line-up, this is not only the better of the two, but showcases a performance of an actor who you thought had reached his game only to leave you cruelly mistaken, and excited for what's to come. Okay, so I wouldn’t throw money(ball) on it winning, but it’s reassuring to see its inclusion... If only it means more people see it. 

My Rating: 4/5

Chances of Winning: 3/5

The Tree of Life

Together with Extremely Loud & Incredibly Close, this was the annual shock nomination on the list – but not necessarily for the same reasons as the former. The Tree of Life is Terence Malick’s first feature after quite a lengthy cinema absence and not only did critics lap up the film, which depicts the evolution of earth, but Cannes awarded him with the coveted Palme D’or. Which may explain why it’s here. Whilst it’s exciting to see such a divisive film be in with a shot, quite frankly there were better films the Academy could have chosen. If Lars Von Trier had kept his mouth shut, maybe The Tree of Life’s complete opposite, Melancholia (which is about the destruction of Earth) would be here instead. I guess we’ll never know.

My Rating: 3/5

Chances of Winning: 2/5

War Horse

Scanning your eyes over the list of this year's nominated flicks, if underwhelmed, you would probably be relieved to see War Horse thrown in at the bottom. The most commercially successful of the nominees this year (followed by The Help), War Horse has basically been a shoo-in from the moment Steven Spielberg announced he was to adapt Michael Morpurgo’s book of the same name (Animals + War = Oscar bait). Interestingly, War Horse hasn’t been dealt as many nominations as one might have expected - most notably Spielberg not being credited for director - but after several shocking omissions for the 'berg in the past (not to mention Christopher Nolan’s for Inception last year), sometimes these omissions have to be overlooked. Apparently, War Horse is the most googled of the nominees, which gives it some weight in, what is looking to be, a one-horse race.

My Rating out of 5: 4/5

Chances of Winning: 2/5



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Hugo

U, 2011, Directed by Martin Scorsese
Starring: Asa Butterfield, Chloé Grace Moretz, Ben Kingsley, Sacha Baron Cohen

It may be hard to envisage legendary director Martin Scorsese, director of esteemed classics Raging Bull, Taxi Driver and GoodFellas, opting to work behind the lens on a U certificate children’s film. In 3D, no less. But within mere minutes of Hugo's startlingly beautiful opening sequence, with Parisian lights glistening in your face and dialogue-free action depicting our orphan protagonist Hugo Cabret’s face peering from behind the Gare Montparnasse's clocks, as he tracks the goings-on with the characterised individuals surrounding him, and it will hit you like a train: this is no children’s film, but a love letter to the medium Marty has become such an iconic part of – cinema.

Set in 1930s Paris, Hugo goes about his days hiding in the walls, manning the clocks and avoiding the station Inspector (Sacha Baron Cohen), all whilst attempting to repair the automaton (a mechanical man who can write messages) he and his father worked on before his untimely demise left Hugo on his lonesome.  It is through this event that we are introduced to the eccentric cast surrounding the loveable boy (played by The Boy in the Striped Pyjamas' Asa Butterfield, a revelation) and his new friend, young Isabelle (Kick Ass' Chloe Moretz, continuing to impress in everything): the aforementioned Inspector Gustav, played with relish by Cohen who steals every scene he finds himself in; Christopher Lee as a kindly librarian; and Ben Kinglsey as the grouchy owner of a toy shop who bears a secret that is inexplicably linked in a large part to Hugo’s ambition to repair the automaton. Needless to say, the film veers off to become associated with the technicalities of cinema, and a film that can be appreciated by all.

For the first time in quite a while, the 3D complements proceedings - somewhat ironically considering the feature's focus on a time when the silver screen had no sound let alone enhanced image - immersing you into an experience rarely achieved these days. Sit back in awe as you witness re-enactments of the stripped-back hugely original way in which films were made, not to mention a general appreciation of the joy cinema can bring to individuals, generation after generation. If that does not supply you with joy, it is a struggle to think what will. Because through Hugo, Martin Scorsese has not only crafted a product suitable to everybody everywhere, but – and whisper this - he might just have crafted his masterpiece. Well... another addition to the filmography that can be mentioned alongside the others at the top of this review anyway.

5/5

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