| movie title |
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| After Hours (1985)
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| A late night encounter leads Griffin Dunne wondering what he's gotten himself into and whether it's better to just fuggedaboudit. The audience might feel the same as we follow our hero into a night of perplexing nastiness, incredulity and astonishment. |
| Alice Doesn't Live Here Anymore (1974)
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| comments coming soon |
| The Age of Innocence (1993)
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| A startling contrast of late 1800s New York to that of his wildly visceral Gangs of New York, Scorsese's grandly eloquent adaptation of Edith Wharton's novel about the morals and mores of Manhattan's elite rich is American Victorianism come to life |
| The Aviator (2004)
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| Bob Dylan: No Direction Home (Disc 1 of 2) (2005)
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Not Rated
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| This unflinching, yet enormously entertaining documentary follows Bob Dylan's life in the Midwest to his early career as a folksinger in New York?s Greenwich Village. Then finally, to his groundbreaking electric recordings and performances that changed the course of rock music in the sixties, with Mr. Dylan giving his point of view throughout the film. |
| Bob Dylan: No Direction Home (Disc 2 of 2) (2005)
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Not Rated
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| Included are appearences, performances and/or interviews with Joan Baez, Johnny Cash, Liam Clancy, John Hammond, Allen Ginsberg, Woody Guthrie, Al Kooper, Greil Marcus, Mitch Miller, Odetta, D.A. Pennebaker, Pete Seeger ,Mavis Staples, Dave Van Ronk, Hank Williams, Andy Warhol, Peter Yarrow and many more. Highly recommended! |
| Boxcar Bertha (1972)
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| This maybe a typical Roger Corman low budget quickie of the period, but you can already see Scorsese's cinematic style developing in almost every shot. With a youthful Barbara Hershey in full bloom. |
| Bringing Out the Dead (1999)
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| Something of a misfire for both Scorsese and Schrader, but the film has its merits and there are moments of what might have been. Can we blame it all on the casting of Nick Cage? A De Niro or Kietel would have purged some of the paralysis. |
| Cape Fear (1991)
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| An updated and disquieting remake, and unlike Peck in the original, Nolte's unabashed attorney almost gets what he deserves from De Niro's macabre, over the top incarnation of Max Cady. Elmer Bernstein adds new luster to the original Herrmann score. |
| Casino (1995)
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| This often brutal account of Las Vegas before its theme park makeover may make you think twice about stopping off in the Nevada desert for a roll of the dice. A dazzling, intense and powerful film with fine performances and a sensational soundtrack. |
| The Color of Money (1986)
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| Newman's wily recreation of his role as The Hustler's "Fast Eddie" Felson helps this uncharacteristic Scorsese film; a young and impudent Tom Cruise tears up the felt. There is some excellent camerawork above and around the pool tables. |
| Gangs of New York (pt.1) (Disc 1 of 2) (2002)
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| This hugely ambitious film needed a stronger hero than Amsterdam; DiCaprio just isn't up to the challenge, and unfortunately, both he and the script lack the necessary depth to pull off the mythical aspects of Amsterdam's quasi-Oedipal conflict with Bill. |
| Gangs of New York (pt.2 & Bonus Features) (Disc 2 of 2) (2002)
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| What the film does have is gorgeous camerawork by Michael Ballhaus, an extraordinary production designed by Dante Ferretti and a feverishly brilliant performance by Daniel Day-Lewis, though ultimately, Gangs remains at best, a noble failure. |
| Goodfellas (1990)
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| One of Scorsese's best, and one of the best films in the last 25 years; a powerful, if brutally grisly look inside the daily workings of the Queens mob as seen through the eyes of wiseguy Henry Hill, who later became a rat fink and lived to talk about it. |
| The King of Comedy (1983)
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| A cynical, offbeat, off-kilter madcap romp in which De Niro's wannabe stand-up comic, aided and abetted by the hysterically funny Sandra Bernhard, obsesses over and kidnaps Jerry Lewis' talk-show host. "Extremely prophetic" Stephen Holden, NYTimes |
| Kundun (1997)
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| This beautifully poetic and extraordinary film about the Dalai Lama demystifies religion by exploring the human element, something Scorsese first explored in The Last Temptation of Christ. The Philip Glass score is a vital asset throughout. |
| The Last Temptation of Christ (Criterion Collection) (1988)
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| A remarkable and altogether satisfying adaptation of Kazantzakis' novel; Scorsese's vibrant camera takes us on a journey of the soul, leaving us to reflect on the dual nature of Jesus and his crisis when confronted by this "last temptation". |
| The Last Waltz (1978)
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| One of the best rock performances ever captured on film; Scorsese was an assistant director on Woodstock, but this is more than a film about The Band in performance, it's an exciting film documenting the end of an era. |
| Mean Streets (1973)
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| The film that put Scorsese firmly on the cinematic map, and one of a handful of independent classics that has a stature all it's own. With terrific performances all around, especially from De Niro and Kietel as street hoods in NY's Little Italy. A gem. |
| My Voyage to Italy (Disc 1 of 2) (2001)
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| comments coming soon |
| My Voyage to Italy (Disc 2 of 2) (2001)
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| comments coming soon |
| New York, New York (1977)
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| comments coming soon |
| New York Stories (1989)
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| Nick Nolte gives one of his best performances as the embattled abstract-expressionist painter whose paradoxical existence leaves him in an artistic and emotional quandary. Scorsese's Life Lessons is easily the finest segment of the three films. |
| A Personal Journey Through American Movies: Part I & II (Disc 1 of 2) (1995)
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Not Rated
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| This extraordinary documentary on the last hundred years American cinema is an exceptionally well written, edited and researched film without any scholarly classroom didactics or conceited Hollywood self-congratulatory posturing. |
| A Personal Journey Through American Movies: Part III (Disc 2 of 2) (1995)
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Not Rated
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| A humble Scorsese deftly narrates with his usual self-confidence, clarity and enthusiasm. Thelma Schoonmaker is the uncannily nimble editor. |
| Raging Bull (Collector's Edition) (1980)
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| This brilliantly directed, shot and edited film stands at the top of Scorsese's oeuvre; a grueling, hard-hitting film of cinematic veracity encompassing the rise and fall of boxer Jake La Motta. One of the best films ever made. |
| Taxi Driver (1976)
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| Scorsese's neo-noir is a nightmarishly harrowing descent into one man's hell and De Niro's performance is disturbingly riveting from start to finish. With a hauntingly cool, stylish score by the incomparable Bernard Herrmann. |
| Who's That Knocking at My Door? (1968)
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