
The Films in ‘Scorsese Shorts’ Play with the Narrative Voice
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.

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.
Scorsese's outlier drama of manners has aged well... mostly.
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.