Its definitely the grower of his filmography

>>80520216
it sucked, I can't believe I bought the DVD of this pos

Mean Streets is a classic. Alice Doesn't Live Here Anymore is the true pleb filter.

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It's a great movie and clearly vibrantly made, my first inclination was to say it was better than I, Viteloni because it's more active...we'll say they're equal.

I'd love it if he made a small film about eccentrics in a seaside town, like Fellini.

>>80520334
might have to watch that desu

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>>80520434
I suppose he's more or less done that, but some of the Fellini-esque tropes or humour would be great to see. The wisecracks in Mean Streets are surprising sharp, they've held up well.

>>80520334
That one is great.

Is The Age of Innocence good? I don't know about Elizabethan Winona Ryder but it's got DDL and costumes and it is Scorsese.

>>80521124
I haven't seen it in about 15-20 years, but the only criticism which seemed valid is that the director is taking aim at social etiquette, and not elucidating the ironies of DDL or the two women.

It's romantic and vivid, but the performances are not as immediate. The two women seemed miscast in that generation. It's a great banquet film, maybe try it again around a big holiday with family or something.

>>80520216
It's easily his worst. If you want a underrated Scorsese, watch After Hours.

>>80521841
>It's easily his worst.
admittedly ive only seen half of his movies but it was not worse than shutter island

ill watch after hours

bump for marty

>>80522136
>>80521841
You're wrong. His worst stuff is easily Shutter Island (obviously done for the money) New York, New York (a misguided career move for everyone involved), Boxcar Bertha (way too rough and cliche to take seriously). Mean Streets is a mess but a charming mess.

>>80522934
I liked Shutter Island. it took all the tropes of the noir horror books and Kings books and combined hat into one solid movie

>>80521841
His worst stuff is everything after the year 2000

>>80523001
It's solid but like you said it's an amalgamation of genre conventions with nothing valuable to say and not really a compelling story to make up for it. You could argue that Casino or GoodFellas didn't have much to say other than being infotainment about the mafia but I easily remember characters like Henry Hill or Nicky Santoro or Karen or Ginger more than the people in Shutter Island.

>>80522934
did you include me by accident >>80522136

i agree with you about shutter island , havent seen the other two

>>80523036
the departed is great


and no infernal affairs isnt better

>>80523036
The Departed, Gangs of New York, and Aviator are really good.

The George Harrison documentary, Wolf of Wall Street, and Silence are amazing.

The Rolling Stones concert movie is decent.

Shutter Island and Hugo are crappy.

>>80523232
no direction home too

>>80523173
>>80523232
I disagree
I feel he hasn't made anything truly great since Bringing Out the Dead

Teaming up with Leo was definitely a contributing factor, but his style has continued to decline

>>80523320
I agree that he definitely is in decline. But I think rather than blaming Leo you can blame his falling out with Paul Schrader, who was responsible for the scripts of best movies including Bringing Out the Dead. But I will take a dulled Scorsese movie over anything else made by Hollywood right now including contemporary legends such as PTA or the Coens. He is just really good at commanding attention with his dialogue, editing, structure, and characterization. And I consider Silence to be one of his masterpieces. It is still weighing heavily on my mind despite having watched it a couple months ago.

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It bothers me that I haven't seen Alice... or Boxcar Bertha.

>>80523666
>Boxcar Bertha
from what ive read he basically did something similar to orson welles where his second movie was a complete studio clusterfuck and kind of disowned it

>>80523445
I dunno I think the Coens are sometimes magnificent. And there are certainly contemporaries of Scorsese's era who are still making good movies. Spielberg's Munich and War of the Worlds are some of the best movies of the last decade and a half in my opinion. I agree that him no longer working with Schrader was absolutely a factor, but forcing DiCaprio as the frontman in a bunch of movies certainly did no good. To me he just cannot adopt a convincing performance aside from a screeching manchild. Which is why he was good in Django.

PTA on the other hand I think is a much lesser filmmaker who's a derivative of a lot of different filmmakers' styles, including Altman, Hawks and Scorsese, but he's only just starting to find his own style. Inherent Vice was starting to look like his own movie, but still suffered from a character and writing standpoint.

But to me the aesthetic and emotion of a movie is often what I remember and feel is more important. This past near 20 years of Scorsese have left me pretty hollow.

>>80523666
Alice Doesn't Live Here Anymore is fantastic. Decent child actor, Kris Kristofferson and Ellen Burstyn have GOAT chemistry, pretty amazing dialogue and side characters, a very endearing story all around about second chances. Boxcar Bertha is OK, just a generic ultra-violent heist flick. Marty was still feeling things out. The ending is very good though.

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>>80523737
Jesus christ those spoilers fucked up
I'm going to sleep

>>80523737
I agree the Coens are at the top of the game and have been there for some time. Besides Scorsese they are the Hollywood directors I will drop everything I'm doing and see a movie of theirs when it comes out. I also consider Spielberg a legend, but I think he is exactly what you are chastising Scorsese for in that the majority of his output for the last 15 -odd years has been derivative, easy, and hollow. Munich and to a much lesser extent A.I. were the only ones I think that truly captivated me rather than just held my attention. I was not a fan of War of the Worlds, thought it was rather silly. I'm with you on PTA, and that pains me because I was a huge fan of his when I was in high school/college but then I started looking at past Hollywood legends and came to the conclusion you and many others have. Inherent Vice was a lot of fun though, and an interesting mess. I think Leo pulls off a lot of Scorsese's characters very well, particularly Costigan. I can't imagine that role by anybody else and Leo fucking owned it. Same with Damon as Sullivan. I think The Departed was one of the best-cast movies of that decade. I guess I'm just a big Scorsese fanboy but he is the last great New Hollywood auteur.

Spelberg has only made one good film the last decade, and its Lincoln which took one of the least interesting things that happened in the 1860s and stretched it to two hours.

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>>80523929
Scorsese films actually make better use of casting than use of music, it's interesting how unexplored that element has been thus far.

>>80520434
>I'd love it if he made a small film about eccentrics in a seaside town, like Fellini.
Why would you expect anything like that from Scorsese, 45 years into his career?

>>80523045
I'm far from a Goodfellas fan but that film is a formal masterpiece as far as mainstream cinema goes. It's hugely innovative in the way popular films look and feel. Shutter Island all his Dicaprio films outside WOWS really have nothing to offer like that

>>80524537
>I'm far from a Goodfellas fan but that film is a formal masterpiece as far as mainstream cinema goes
Yeah I'm totally with you there. Came out 27 years ago and it still feels modern, that is a fucking masterpiece of craft.

But I still think The Departed was amazing all around, better than Wolf of Wall Street. It was a story that got me to care about its characters and I was thoroughly invested in what would happen next. The first 20 minutes alone are a masterclass in how to introduce a crime movie.

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NOW'S THE TIME

>>80524691
I don't think Scorsese cast the right guy for that role. He was supposed to be this big pushover but he doesn't look like one he looks like a regular wiseguy.

>>80524537
>Why would you expect anything like that from Scorsese, 45 years into his career?
I'm not being entirely literal with that remark, but I'd like a concise statement of sentiment sort of on par with the ending to Paths Of Glory. Fellini does this kind of thing better than anyone, so I suppose he's the main pointer in that direction. You know how Fellini has those sunsets going down over the ocean, and Scorsese has the towers of New York going up at the end of GONY? That sort of directorial differentiation is interesting to me.

>>80524723
Yeah I was thinking the entire time I wouldn't fuck with that dude. He's got a pretty menacing look and demeanor.