Scorsese's The Irishman is not a masculine power fantasy, nor could its heavy underlying sadness ever be mistaken for delight in violence or criminality.
Scorsese's selections for World Cinema Project No. 3 recall an attitude typical of a bygone age of film studies when professors would rationalize overlooking the reactionary politics of a film because aspects of the filmmaking itself trumped such "trivial" concerns.
In Scorsese's hands, the voice-over is less a substitute for what we are not shown but instead becomes a vital thread woven into the fabric of the film's meaning.
The best films of 2010 include a fake documentary, a comedy about Jihad, a vampire story NOT dealing with tacky tween romance, a haunting hillbilly noir, and an elegant tale about clones. Not necessarily the usual cinematic suspects.
Martin Scorsese, Francis Ford Coppola, and other members of the old guard might be battling with the MCU about the quality of superhero movies, but the business of how we consume film is changing, like it or not.
With its big performances and stellar script, The Irishman is the glorious culmination of Scorsese's lifelong fascination with mobsters and their built-in self-destruction.
Paul Lopes's Art Rebels is a study that tries (and only partly succeeds) to fit two great artists -- Miles Davis and Martin Scorsese -- into clearly defined categories.
In Rolling Thunder Revue: A Bob Dylan Story, a cinematic genius and a Nobel Prize-winning musical icon pair for a magical and purposefully deceptive look at rock 'n' roll life in the mid-'70s.
These 13 films help us understand horror as an important mode of cultural expression, as a means to explore the dark inner recesses of ourselves and our society.
The history of this important American cultural institution is vital and appreciated, of course. If only the text had more "life" and "color" in it, as a good film does.