Author Topic: Favorite Scorsese Film  (Read 20156 times)

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SoNowThen

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Favorite Scorsese Film
« Reply #75 on: May 03, 2003, 10:58:25 AM »
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True true. Such a fucking brilliant movie!!
Those who say that the totalitarian state of the Soviet Union was not "real" Marxism also cannot admit that one simple feature of Marxism makes totalitarianism necessary:  the rejection of civil society. Since civil society is the sphere of private activity, its abolition and replacement by political society means that nothing private remains. That is already the essence of totalitarianism; and the moralistic practice of the trendy Left, which regards everything as political and sometimes reveals its hostility to free speech, does nothing to contradict this implication.

When those who hated capital and consumption (and Jews) in the 20th century murdered some hundred million people, and the poster children for the struggle against international capitalism and America are now fanatical Islamic terrorists, this puts recent enthusiasts in an awkward position. Most of them are too dense and shameless to appreciate it, and far too many are taken in by the moralistic and paternalistic rhetoric of the Left.

Derek237

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« Reply #76 on: May 10, 2003, 07:45:36 PM »
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I went with Goodfellas. Great movie.

Holden Pike

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« Reply #77 on: May 11, 2003, 07:04:26 AM »
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I don't think Scorsese has made a "bad" film yet (excluding Corman quickie Boxcar Bertha, which even manages to have a couple moments). There aren't many filmmakers you can honestly say that about, and it's amazing how many of his great films are masterpieces of some order or another.

I rank 'em...

1. GoodFellas[/b][/size][/color]
GRADE, A+++
2.Taxi Driver[/b][/color]
GRADE, A+++
3. Raging Bull[/b][/color][/size]
GRADE, A+++
4. After Hours[/b][/color][/size]
GRADE, A+
5. The Age of Innocence[/b][/color][/size]
GRADE, A
6. The Last Temptation of Christ[/b][/size][/color]
GRADE, A
7. The King of Comedy[/b][/color][/size]
GRADE, A
8. Mean Streets[/b][/size][/color]
GRADE, A-
9. The Last Waltz[/b][/color][/size]
GRADE, A-
10. Casino[/b][/color][/size]
GRADE, A-
11. Gangs of New York[/b][/color][/size]
GRADE, A-
12. Bringing Out the Dead[/b][/color][/size]
GRADE, A-
13. Cape Fear[/b][/color][/size]
GRADE, B+
14. Alice Doesn't Live Here Anymore[/b][/color][/size]
GRADE, B+
15. Kundun[/b][/color][/size]
GRADE, B
16. New York, New York[/b][/color][/size]
GRADE, B
17. Italianamerican[/b][/color][/size]
GRADE, B
18. American Boy: A Profile of Steven Prince[/b][/color][/size]
GRADE, B
19. "Life Lessons"[/b][/color] segment of New York Stories
GRADE, B-
20. The Color of Money[/b][/color][/size]
GRADE, B-
21. Boxcar Bertha[/b][/color][/size]
GRADE, C-


I think GoodFellas, Taxi Driver and Raging Bull are his masterpieces among masterpieces. After Hours and The King of Comedy are his two best but least-seen great works. Sadly The Last Temptation of Christ is more known for being "controversial" than appreciated as the great film that it is. I find The Age of Innocence, Alice Doesn't Live Here Anymore and Kundun are largely forgotten because they don't fit neatly into the general perception of Scorsese's canon. The Last Waltz is simply the greatest conecert film ever made. Mean Streets has been a bit eclipsed by his latter work, but it is a remarkable film, especially for that early in a career. Casino is sometimes offhandedly dismissed as a GoodFellas retread, which it most certainly is not. New York, New York is much, much better than it's reputation for me, especially since I have the longer "director's cut" on LaserDisc: a great work waiting to be rediscovered. Cape Fear is so much goddamn fun, it's Marty's Touch of Evil if you will. The Color of Money is his least ambitious and ordinary movie, but that being said his stylistic touches are brilliant, the performances are a treat, and even the "least" of Scorsese's work in my book is beter than most filmmakers' "best".


I love the guy.
"Film is a disease. When it infects your bloodstream, it takes over as the number one hormone. It bosses the enzymes, directs the pineal gland, plays Iago to your psyche. As with heroin, the antidote to Film is more Film."
- Frank Capra

godardian

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« Reply #78 on: May 12, 2003, 01:50:02 PM »
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Taxi Driver for me, though I can't think of one Scorsese film I've really, truly hated. Bringing Out the Dead is probably my least favorite.
""Money doesn't come into it. It never has. I do what I do because it's all that I am." - Morrissey

"Lacan stressed more and more in his work the power and organizing principle of the symbolic, understood as the networks, social, cultural, and linguistic, into which a child is born. These precede the birth of a child, which is why Lacan can say that language is there from before the actual moment of birth. It is there in the social structures which are at play in the family and, of course, in the ideals, goals, and histories of the parents. This world of language can hardly be grasped by the newborn and yet it will act on the whole of the child's existence."

Stay informed on protecting your freedom of speech and civil rights.

godardian

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« Reply #79 on: May 12, 2003, 01:52:01 PM »
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Quote from: Holden Pike


I don't think Scorsese has made a "bad" film yet (excluding Corman quickie Boxcar Bertha, which even manages to have a couple moments). There aren't many filmmakers you can honestly say that about, and it's amazing how many of his great films are masterpieces of some order or another.

I rank 'em...


I think GoodFellas, Taxi Driver and Raging Bull are his masterpieces among masterpieces. After Hours and The King of Comedy are his two best but least-seen great works. Sadly The Last Temptation of Christ is more known for being "controversial" than appreciated as the great film that it is. I find The Age of Innocence, Alice Doesn't Live Here Anymore and Kundun are largely forgotten because they don't fit neatly into the general perception of Scorsese's canon. The Last Waltz is simply the greatest conecert film ever made. Mean Streets has been a bit eclipsed by his latter work, but it is a remarkable film, especially for that early in a career. Casino is sometimes offhandedly dismissed as a GoodFellas retread, which it most certainly is not. New York, New York is much, much better than it's reputation for me, especially since I have the longer "director's cut" on LaserDisc: a great work waiting to be rediscovered. Cape Fear is so much goddamn fun, it's Marty's Touch of Evil if you will. The Color of Money is his least ambitious and ordinary movie, but that being said his stylistic touches are brilliant, the performances are a treat, and even the "least" of Scorsese's work in my book is beter than most filmmakers' "best".


I love the guy.


Don't forget A Personal Journey Through American Cinema, which I think is so valuable, even beyond some of his own features.
""Money doesn't come into it. It never has. I do what I do because it's all that I am." - Morrissey

"Lacan stressed more and more in his work the power and organizing principle of the symbolic, understood as the networks, social, cultural, and linguistic, into which a child is born. These precede the birth of a child, which is why Lacan can say that language is there from before the actual moment of birth. It is there in the social structures which are at play in the family and, of course, in the ideals, goals, and histories of the parents. This world of language can hardly be grasped by the newborn and yet it will act on the whole of the child's existence."

Stay informed on protecting your freedom of speech and civil rights.

bonanzataz

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« Reply #80 on: May 18, 2003, 02:07:58 AM »
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i'm looking at the list and it's embarrassing how little of this guy's work i've seen. i love casino and goodfellas and i remember liking alice doesn't live here, but those are the only one's i've seen. my mom loves him. we have a framed new york new york poster hanging up in the house.
The corpses all hang headless and limp bodies with no surprises and the blood drains down like devil’s rain we’ll bathe tonight I want your skulls I need your skulls I want your skulls I need your skulls Demon I am and face I peel to see your skin turned inside out, ’cause gotta have you on my wall gotta have you on my wall, ’cause I want your skulls I need your skulls I want your skulls I need your skulls collect the heads of little girls and put ’em on my wall hack the heads off little girls and put ’em on my wall I want your skulls I need your skulls I want your skulls I need your skulls

thedog

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« Reply #81 on: May 18, 2003, 04:40:15 AM »
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1. goodfellas
2. taxi driver
3. raging bull
4. casino
5. bringing out the dead

although gangs of new york was disappointing, i have yet to see a truly bad scorsese film.

Mesh

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« Reply #82 on: May 29, 2003, 05:22:45 PM »
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Quote from: Phil Marlowe
What about "The Last Waltz"? I've heard it should be one of the best documentaries ever made.

...have anyone seen it?


An excellent, timely rock doc. but not really quite as outstanding a doc. as it may be cracked up to be.  It'll make you appreciate The Band, though, and contains great special appearances by Joni Mitchell, Bob Dylan, Van Morrison, and Eric Clapton, not to mention Marty Scorcese himself.  Good stuff.  Wouldn't hold a candle to his narrative films in this thread, though.

Mesh

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« Reply #83 on: May 29, 2003, 05:28:47 PM »
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Quote from: Holden Pike
The Last Waltz is simply the greatest conecert film ever made.


I don't quite agree, but at the same time, I can't think of a better one.....

godardian

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« Reply #84 on: May 29, 2003, 10:04:15 PM »
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Quote from: Mesh
Quote from: Holden Pike
The Last Waltz is simply the greatest conecert film ever made.


I don't quite agree, but at the same time, I can't think of a better one.....


There are those who would say Stop Making Sense. Or perhaps Gimme Shelter.

Not me, though. I haven't seen any of them. Nor Rattle and Hum (not a big U2 fan, anyways, though).
""Money doesn't come into it. It never has. I do what I do because it's all that I am." - Morrissey

"Lacan stressed more and more in his work the power and organizing principle of the symbolic, understood as the networks, social, cultural, and linguistic, into which a child is born. These precede the birth of a child, which is why Lacan can say that language is there from before the actual moment of birth. It is there in the social structures which are at play in the family and, of course, in the ideals, goals, and histories of the parents. This world of language can hardly be grasped by the newborn and yet it will act on the whole of the child's existence."

Stay informed on protecting your freedom of speech and civil rights.

MacGuffin

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« Reply #85 on: May 29, 2003, 10:09:40 PM »
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No mention of Woodstock? Scorsese was an assistant director and editor on it.
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AlguienEstolamiPantalones

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« Reply #86 on: May 29, 2003, 10:19:08 PM »
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holden your list is screwy

age is better then mean streets and color of money ?

and why is color of money so low because he had big stars in it

wrong

i dunno if i could list my favs

well goodfellas is the best but color of money would be in the top few  

and kundon and age rounding out the bottom, bringing out the dead loses points because cage ruined it for me

eward

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« Reply #87 on: May 30, 2003, 11:06:54 AM »
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raging bull raging bull raging bull
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Mesh

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« Reply #88 on: May 30, 2003, 03:40:58 PM »
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Quote from: godardian

There are those who would say Stop Making Sense. Or perhaps Gimme Shelter.

Not me, though. I haven't seen any of them. Nor Rattle and Hum (not a big U2 fan, anyways, though).


Tangent:  Would Truth or Dare count?

Gold Trumpet

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« Reply #89 on: June 01, 2003, 07:38:17 PM »
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I would call myself a big U2 fan and I even felt Rattle and Hum was lackluster. It felt like an advertisement to the image U2 wanted to have at the time.

~rougerum

 

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