The Wolf of Wall Street

[jenkins]

i haven't seen this, but apparently it's already been screened for the public. i know because critics know and have talked about it, and of course they see an omen of a bad movie. i think they're making assumptions. the tradition, however, is indeed to skip the critics if you think the critics won't like it

[Alexandro]

i've been reading nothing but raves from critics and people who saw it.

[polkablues]

They need to cut some better trailers then, because so far it looks like an outright abomination.

[jenkins]

i've been reading nothing but raves from critics and people who saw it.

you're saying it's gone to both the general audience and critics? rotten tomatoes turns up nothing but i believe you. please link me. tbh i don't even know where these general audience people were, i've just heard them mentioned, and of course there was enthusiasm. i'm positive the studio also guessed an early screening of this movie would excite a general audience

(edit) nvm, and yes i also think it's funny i tried rottentomoatoes before google

Formal reviews are embargoed but as an initial observation I would label the movie ”Scorsese’s Satyricon,” a wild ride full of contemporary debauchery to say the least (DiCaprio compared some of it to Caligula), with a fine ensemble and a frenetic pace that belies its three hour running time

http://www.deadline.com/2013/12/oscars-scorsese-and-dicaprio-back-in-the-race-as-wolf-of-wall-street-makes-a-raucous-debut/

The film isn't set to screen for the press at large for another week, but this weekend it began making its way through guild screenings, where plus ones and crossover memberships with critics and the film commentariat are just unavoidable. So it was Saturday afternoon that I made my way to the first of two SAG screenings of this absolutely unrepentant entry (hopefully that caveat saves the studio some disgruntled phone calls — over 100 people were turned away from the two screenings, which were filled to the brim). Stars Leonardo DiCaprio, Jonah Hill, Rob Reiner, Cristina Milioti, Jon Favreau, P.J. Byrne and Kenneth Choi were on hand to discuss working with a master filmmaker and the life and times of a man, Jordan Belfort, who by anyone's measure should probably be dead by now.

http://www.hitfix.com/in-contention/are-leonardo-dicaprio-and-the-wolf-of-wall-street-just-what-this-oscar-season-needed#QwJj0lDTbhBeS40q.99
DEC 1

Everybody loves Martin Scorsese’s “The Wolf of Wall Street” – including, perhaps, people who haven’t even seen it.

The three-hour real-life tale of financial skullduggery and personal excess has become the hottest screening ticket in town in the first few days of its guild screenings, with Paramount turning away viewers at SAG, AMPAS, DGA and WGA screenings that began on Saturday afternoon and will continue all week in Los Angeles, New York, San Francisco and London.

http://www.thewrap.com/wolf-wall-street-martin-scorsese-leonardo-dicaprio-oscar-race-screening-reactions

roger

[matt35mm]

Critics have started to see it but there is an embargo on the reviews (not unusual for big movies, and not a negative sign at all. Similar thing happened with AMERICAN HUSTLE, which is why all these reviews of it have dropped almost all at once earlier today. THE HOBBIT has also started screening but there are no published reviews yet.

But yes, the buzz on WOLF OF WALL STREET has been pretty strong just from the hints on Twitter from over-excited critics.

[jenkins]

idk why i didn't guess this is a common american release practice. i heard about it in a funky way, i agree. but like, from an la times critic, who compared this with a deflating tire

[©brad]

They need to cut some better trailers then, because so far it looks like an outright abomination.

Really? I think the trailers are fun.

/ducks

[polkablues]

/ducks

Because Leonardo DiCaprio just tossed a dwarf at you.

[03]

i thought that was vin diesel

[jenkins]

you ready for the kicker? cinematically there's no fussing around about who wins. scorsese of course. there's an allout hilarious drug scene that i'm happy scorsese flew with. jonah hill and other supporting actors were terrific. but overall american hustle > wolf, imo. for the characters

[jenkins]

i've also had fond memories of matthew mcconaughey and spike jonze. especially mcconaughey

here's a youtube irl video of a party in the movie. don't worry, it's much different in the movie of course

[Drenk]

So much energy in this movie for a character I didn't give a shit about. Yes, DiCaprio is great. But I was bored. I felt the energy, though, while being bored - for a long time, this movie is long, really long-, and found myself in a strange state at the end.

[Alexandro]

http://www.theasc.com/ac_magazine/December2013/TheWolfofWallStreet/page1.php


“When we started testing different digital cameras and ideas, I also shot film as a benchmark so I could understand differences in terms of latitude, color and so on,” Prieto recalls. “I shot the same images on film and on digital, and when I screened the tests for Scorsese, he kept pointing to the film versions and saying they looked better, basically noting that the skin tones were richer and there was more color nuance. So, I went to our producers to explore the financial implications of shooting on film negative and reserving digital capture for low-light situations. After looking at the comparative costs, production agreed to work with that hybrid method.”

[©brad]

Some fun scenes. Way too freakin' long and repetitive. Leo is no Ray Liotta when it comes to voiceover. I loved the final shot.

[Cloudy]

I feel akin to this statement,

Richard Brody, New Yorker:
"No, of course Scorsese doesn’t approve of Belfort’s actions; who would? We may wish that such behavior didn’t exist, but its existence is a central part of human nature, and there’s a reason that we can’t stop watching, just as we can’t stop watching the terrifying storm or the shark attack. Within the movie’s roiling, riotous turbulence is an Olympian detachment, a grand and cold consideration of life from a contemplative distance, as revealed in the movie’s last shot, which puts “The Wolf of Wall Street” squarely in the realm of the late film, with its lofty vision of ultimate things. It’s as pure and harrowing a last shot as those of John Ford’s “7 Women” and Carl Theodor Dreyer’s “Gertrud”—an image that, if by some terrible misfortune were to be Scorsese’s last, would rank among the most harshly awe-inspiring farewells of the cinema."