Ohjaus:
Martin ScorseseKäsikirjoitus:
Terence WinterKuvaus:
Rodrigo PrietoSävellys:
Theodore ShapiroNäyttelijät:
Leonardo DiCaprio, Jonah Hill, Margot Robbie, Matthew McConaughey, Kyle Chandler, Rob Reiner, Jon Bernthal, Jon Favreau, Jean Dujardin, Joanna Lumley (lisää)Suoratoistopalvelut (4)
Juonikuvaukset(1)
Ohjaaja Martin Scorsesen elokuva The Wolf of Wall Street perustuu tositarinaan newyorkilaisesta pörssimeklarista Jordan Belfortista (Leonardo DiCaprio). Belfortin amerikkalainen unelma lähti käyntiin 80-luvulla senttiosakkeista, joiden kautta hän siirtyi pörssilistautumisten ja korruption ahneeseen maailmaan. Belfort saavutti huikeaa menestystä ja vaurautta jo parikymppisenä johtaessaan Stratton Oakmont -pankkiirifirmaansa. Samalla hän ansaitsi lempinimensä the wolf of Wall Street – Wall Streetin susi. Rahaa, valtaa, naisia ja huumeita. Houkutuksia oli jatkuvasti tarjolla, ja viranomaisten uhasta ei tarvinnut välittää. Vaatimattomuus oli Jordanin ja hänen susilaumansa mielestä täysin yliarvostettua, ja heille ei riittänyt mikään. (Finnkino)
(lisää)Arvostelut (19)
A three-hour long joyride full of sex and cocaine, cool and base at the same time, trying to hide behind the proverb “sow the wind, reap the whirlwind”. I enjoyed myself immensely and I’ll definitely watch this again, but I don’t consider one dramatic scene (with the daughter in the car) to be enough for a three-hour film. The Wolf of Wall Street has perfect catchphrases and is never boring, but it made me realize that this type of Scorsese movie (starting with Casino) is great to watch but won’t leave you with lasting impression. Shutter Island, dark and mystical, perfectly escalated, with a surprising, sophisticatedly ambiguous ending, is much closer to my heart, and I consider it Scorcese’s masterpiece.
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What surprised me, and not in a very good way, is that Scorece’s position towards the protagonist is neutral, as if he was saying that ripping people off, doing drugs and shagging whores is kind of fine. That's a pretty big problem for me, as a die-hard idealist. So far, none of Scorsese's films have lacked some kind of catharsis at the end, unfortunately I didn't get it here. I acknowledge the fantastic filmmaking, which on more than one occasion managed to elicit a relieved laugh from me, but otherwise I'd always prefer the stupid postmen who can only afford penny stocks over cunts like Jordan Belfort and his wolf pack. This farce is actually very far from a complex fresco telling something about something.
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Leonardo DiCaprio transforms into Matthew McConaughey in this biopic, which chokes on itself. For as long and as fast as The Wolf of Wall Street talks, it ultimately says surprisingly little. Like The Great Gatsby, another attempt to explore the self-destructive potential of capitalism from last year, Wolf also entertained me more with its form than with its content. ___ Scorsese has dealt with the central theme of male frustration arising from the inability to reach the top and stay there several times (most evocatively in Raging Bull). What makes this film different is mainly its tone, degree of excess and greater emphasis on the ritual dimension of boorish behaviour. Sex, drugs and drinking have gained a common denominator in the form of dollar bills, for which anything and anyone can be bought. The film doesn’t condemn money – and there is the question of whether anyone should take it seriously in such a case today. On the contrary, it genuinely acknowledges that money can buy loads of pleasure. The ambiguous final scene with Agent Denham (is he smiling?), who together with Belfort’s first wife is the only one who acts with any sense of morals, leaves it up to us to judge whether he is happy or regretful that he didn’t take Belfort’s offer. (Denham comes across as a being from a different, human world also thanks to Kyle Chandler’s acting). Scorsese puts us in a similar “decide for yourself” position multiple times, e.g. during Belfort’s slow crawl to the Lamborghini. The scene isn’t made humorous with music or with a well-timed cut. It is rather several static shots without musical accompaniment. We are not encouraged to laugh at the protagonist; that’s only somehow expected of us. ___ At the same time, a second viewing of the etude with the Lamborghini, unforgettable thanks particularly to DiCaprio’s physical performance, which is reminiscent of Jerry Lewis and other masters of physical comedy, reinforced my suspicion that Scorsese did not have an entirely clear concept of how to shoot the individual parts of the film and then put them together. With the exception of the aforementioned scene, it more or less applies that the less cool the film is, the more seriously we should take it. The rapid dolly shots, the overhead shots, the slowed or quickened movement, the loud music (the choice of which is governed by whether we are watching the bacchanalia or, for example, another stock-market success) – these are all indicators that Belfort has the narrative fully under his control. From the prologue (white Ferrari, not red), however, Belfort shows himself to be an unreliable narrator who doesn’t tell the truth, or at least not the whole truth. Other characters and the film’s narrative itself have to repeatedly set the record straight and tell us what really happened (the S&M evening, the rampage on the airplane, the return from the Country Club). The scenes without music and Belfort’s boastful commentary, handled using the standard shot-countershot technique, are often more critical of the “hero’s” actions and give the impression that we are receiving facts in a purer form, unfiltered by Belfort’s view. But in “his” scenes, Belfort occasionally commits an offense that an impartial (and absent) film narrator avoids – he puts himself down (eleven-second coitus, self-ironic quoting of Browning’s Freaks). Is that supposed to be a surprising violation of the rules (such as the later conferment of the voice-over to other narrators, namely Saurel and Aunt Emma), or is it proof that the film does not respect any rules in its extravagant indiscipline? ___ Of course, the composition of the plot from various mad incidents is not as random as it may seem. The narrative moves ever forward thanks to the rhythmically well-thought-out introduction of new characters and revealing of new information, and thanks to the intensification of the motifs pointing out the striking contrast (played superbly by DiCaprio) between the Jordan who has ambition and a knit sweater and the Jordan who has everything. Whether The Wolf of Wall Street has a clear concept or not (it probably does, but I didn’t find it even on the second viewing), and whether or not it is sexist in its exploitation of the female body (it probably is, because Naomi uses her sex appeal as a weapon), the new Scorsese film remains an entertainingly provocative black comedy (or horror musical?) that pulsates with incredible (masculine) energy for the whole three hours and likably does not try to foist upon us any moralistic wisdom about the harmfulness of money, egoism and various forms of immoderation. 85%
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The most fundamental American film since The Social Network. The film is not amoral, what’s amoral is its protagonist and modern society as a whole. He’s an asshole who ended up in prison (for a ridiculously short time), without friends and in debt due to his criminal behaviour and yet he has a relatively normal life, and there are still business people who take him as a role model and eagerly listen to his motivational lectures. Though Scorsese doesn’t portray the main character from an acceptable moral position (after all, Belfort himself is the narrator), after three hours of footage, a sensible viewer can make their own judgement, and thanks to this confrontation, a lively comedy becomes a very caustic satire. Excellent and brisk fun with pretty dark reverberations. Get over it.
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To be honest, I was somehow speechless after I saw this movie. This film is a proper Scorsese, but on the other hand, it’s not something that I would be happy to remember. You see, the movie is a cruel reflection of the kind of society created by capitalism. That is of the kind of world we live in. And believe me, it’s not a pleasant sight. And that’s despite the fact that there’s plenty of fun and the acting performances are flawless. Having said that, I never want to see The Wolf of Wall Street again. Seeing naked reality is sometimes painful and I’m not able to accept such reality again. And the worst part is that it’s all based on real events. Nevertheless, there is one thing I have to admit. The guy the story was based on was a hell of a businessman. But that was probably the only thing he had going for him.
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I guess I don't like movies where Leo is very rich and indulgent. The fact is that except for a few jokes in the style of The Hangover, it all seemed to me like an opulent cocaine carnival, hiding quite a relevant (and fortunately very subdued) parable about the pernicious appeal of selling pens and a glaring paradox of sweaty balls in the subway, circumscribed elegantly in the last minutes. I appreciate that Scorsese accepts the player's perspective (and not the critique of the system) and does not push the viewer to disgust - Belfort is, of course, a repulsively attractive mediator of the world of speculation. However, the metaphors of the brokerage community as a prehistoric tribe / sect are unnecessarily obvious (although the extravaganza is nice to look at). Also remarkable is the obvious "immorality" of the film, which actually calmly claims that a similar lifestyle is cool in a way - and Scorsese is, of course, right. If he wasn't, the Wolf would have nothing to eat. The best thing about the film in this regard is about 5 minutes, which the brokerage shaman McConaughey hums to a hypnotic rhythm. I have nothing to criticize it for at its core - it plays back the worn out notes confidently and without mistakes, it just didn't speak to me at all with its frenetic cadence. It’s the similar problem of "numbness of sarcasm" that I had with Gavras' more engaged film Capital. At least The Wolf of Wall Street brazenly says, with a smirk, what we all know about the speculative nature of capitalism, admittedly unreliably and without unnecessary rhetorical phrases. And it doesn't burden you with unnecessarily complicated details at all. Why would it, when another reduction is waiting around the corner? But the film still takes 3 hours, in which I did not find enough stimuli. Of course, except for the cocaine, prostitutes, and those damn deceleration pills...
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Fear and loathing in New York. Good old Scorsese remains true to himself, yet he’s rejuvenated through over-the-top decadent stylization, speech and, indeed, the content of individual scenes. It begins as a cynically satirical and amoral demystification of the American capitalist dream, not unlike There Will Be Blood. It continues as a pure junkie comedy on par with Trainspotting. And it ends with a variation on Catch Me If You Can. And as incompatible as these individual threads may seem, Scorsese's (and, in no small part, DiCaprio's) greatest achievement is that it all feels like one cohesive whole. This is also due to the fact that there isn’t a moment to exhale for three hours; at least for the duration of projection. After that, you have to be honest that even though there isn't a single boring or bad scene in it, some could stand being edited out. It also depends on whether you think that Scorsese is glorifying Belfort or that he is satirically doing the exact opposite. But damn it, it's such outrageous fun, with something for everyone; from freakin’ self reflection through its frickin’ cinephilic form to fuckin’ gut-busting scenes.
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Such a sophisticated ode to money, sex, drugs, and immense debauchery that I almost forgot that, in reality, such people seem overdue for a good slap in the face. Yet even if I had spent the entire three hours merely studying the movements of the wolf king Leonardo DiCaprio in fascination, it would still have been worth it. Sharp monologues, the casting of prostitutes, or cerebral palsy may be the high points, but all throughout DiCaprio delivers a performance at the edge of human capabilities, which might appear casual and relaxed, but must have required a level of effort greater than ever before. Still, it is a shame that Scorsese expands the scope to an unnecessarily broad extent. Even my love for overdramatic stories that don't know when to stop being told could not prevent me from being even slightly bored by the last hour running a bit freely. Martin Scorsese and Leo yet again know how to do it and take unbelievable delight in their talent. And yet they miss absolute center, whether they make a buck or not, by a field.
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I have a terrible urge to use profanity whenever I think of The Wolf of Wall Street. So for once, excuse me if I say Leonardo is a great fu*king actor, unrivaled in America after that performance. I may not be a fan of drug movies, but they just made something more out of it here. I'm just sorry that Matthew McConaughey didn't stick around a little longer, because his goofiness is really perfect. This movie is an addiction! 5 stars.
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The Wolf of Wall Street has rightfully become one of the most important events of the season. It accurately captures the atmosphere of a time marked by an economic crisis and surprises with the realization that not everyone tightens their belts equally during times of need and that human justice falls short when it comes to certain assholes, whose rhinoceros hides are evidently impenetrable. If nothing else, we will take revenge on them on the silver screen. The Wolf of Wall Street is reminiscent of a wild party, from which, aside from the exhilarating feeling of tasting forbidden fruit and crossing the boundaries of socially acceptable behavior, you will likely remember only a few shocking escapades and excesses after a few days. The film depicts a series of parties, revelry, drug trips, and an insatiable desire for wealth in a somewhat stereotypical and thus tiresome manner. It tells the story of a group of brokers who do not hesitate to destroy the lives of naive clients with offers of worthless stocks from obscure companies. The film is reminiscent of Lord of War and Trainspotting with its absence of moral dimension and final catharsis. In all three cases, we are dealing with scoundrels who ultimately succeed and get away with it, despite minor setbacks and losses. Scorsese proves that old age does not necessarily mean a loss of connection with modern cinema. Quite the opposite, as the same can be said for him as for vintage wines - the older, the better. He rivals Fincher in camera skills, enjoys crowd scenes, and effortlessly handles action sequences, such as sinking a yacht in a stormy sea. He varies the rhythm and slows down the shots, and a single detail can reveal more about his characters than any other director could describe in an entire film. A separate chapter is dedicated to DiCaprio's performance in the lead role. Villains are always more rewarding for actors. DiCaprio revels in the role of a cynical, unscrupulous businessman, delightfully showcasing his boundless hedonism, narcissism, and manipulativeness. It is said that when actors enjoy filming, the audience cries over their paychecks, and vice versa. This is clearly not the case here. Both DiCaprio and Jonah Hill clearly enjoyed the overdose scene, which is brilliantly comical and will likely become a revered classic among film fans. DiCaprio promises, seduces, bribes, and threatens, and above all, presents a study of a man obsessed with himself and navigating an endless drug trip. Despite the aforementioned, I have to give it the highest rating. The Wolf of Wall Street is like a hyperactive, self-centered child that persistently demands attention. Its coolness eventually becomes tiresome. Paradoxically, I realized that I would have enjoyed the film more with a shorter runtime and fewer gags. Overall impression: 85%.
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Perfect, movie of the year. For the first time in a long time Marty does a comedy, and he can swim in this medium several times better than today’s would-be Kings of Comedy. The Wolf of Wall Street is a new generation Goodfellas, however strange that sentence sounds. A classic rise and fall of one menial swine with the gift of the gab (and a stock trader license), is served in a lively, entertaining form and the three hours in the theater pass by like nothing. Cocaine, hookers, the language of money (fuck, shit, cunt), all entertainingly delivered, also of course due to the involvement of DiCaprio who found himself here in terms of acting after all those years and gives the best performance in his career. Hill is an incredible slob - in a good way. In terms of effects, a little wobbly, partisan cutting, but it’s hard to say if that wasn’t Marty’s intention. Otherwise, the scene with Matthew McConaughey, where the two of the best actors of last year are in the restaurant... A hymn to capitalism is resounding in my heart. Hmhmhm... boom-boom, hmhmhm... boom-boom, hmmmhmmmhmm hmm hmm hmm hmm hmhmh... oh yeah. P.S.: Yes, of course they were incredible swines, I condemn what they did and they should rot in the hole till they’re dead, if they robbed the state like that, they’d get the electric chair. But they don’t mind regular people being robbed.
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This is a prime example of how Margot Robbie made her career. She was just a blonde bimbo and it took less than five years for her not to be one anymore. Smart girl. Otherwise, The Wolf of Wall Street is just another example of a typical DiCaprio solo directed by Scorsese. Great, but we've seen it before. The book can be interesting in and of itself.
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Beginning, rise and fall. Similar to American Gangster, but while Ridley Scott's opus is more concise, often more iconic, character-driven, and simply more cinematic, Wolf of Wall Street never moves the camera, is much dirtier, ambiguous, sleazy, and elusive. The precise definition of our times. In the end, equally timeless, but incredibly cold and superficial, so actually, in terms of its narrative value, absolutely fine.
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For my taste, it's a film that is too long, with too much of the same thing going on for too long in different variations - sex, drugs and more sex and drugs instead of rock and roll. Yeah, and money. I'm not going to say that The Wolf of Wall Street is a bad film, it's well made and acted. But I was not part of a lot of the bursts of laughter the other movie theatre-goers were having. I see little amusement in the fact that someone acts like an asshole and others admire him... And perhaps the most praised scene with the paralyzed brain was not funny at all. Not to mention what happened after inside the house. I guess there's something wrong with me or maybe this humor just wasn't my thing. What I really liked, though, was the conversation between Belfort and the FBI agent aboard the yacht, with DiCaprio acting like Robert De Niro in his prime, and the well-pointed nursery scene (starring a teddy bear).
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Still in top form 19 years after his greatest masterpiece, Scorsese serves the audience another incredibly complex and cinematically unique look into a world full of dirty dollar bills, which easily wins the competition for his most successful satire. Some of the lines are truly lethal, the actors (sorry – the actor) are brilliant, the women are gorgeous, and the direction is as refined as philosophy after a fat line of coke, but content-wise, The Wolf of “Fucking” Wall Street is a mild disappointment. Not only are we not told once in those three hours whether we should perceive the stubborn Berfolt as a positive or negative character, but in the flood of all the constantly recurring phases of junkie syndrome and heroic motivational monologues, we sometimes don't even notice the dramatic interludes that have adorned Scorsese's earlier films the most. Martin wants to say a lot in his old age, but apart from filming probably the funniest scene with a drugged millionaire in history and making me even more convinced that honest drugged millionaires don't exist, he didn't tell me that much in the end. Formally, however, is again phenomenal and I wouldn't be surprised if academics give it due credit. 85%
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The cinematography was masterful like a beautifully cut diamond. But frankly, I didn't enjoy it at all. The running time was exhausting, and the film contained too much speechifying and chanting for my taste. Although there were some powerful moments, I often found myself bored, and by the last third of the film, I was just hoping that it would be over soon. It was all handled very well but the plot was boring.
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Once it was confirmed that when something is highly praised and you then see it, you don't necessarily have to be disappointed. "The Wolf of Wall Street" is an amazing example of how a person can make it big, become a real scoundrel, and maybe you will even root for them, then they do something that makes them a scoundrel to all their friends, but even though they are a criminal, they are still a beloved personality and after being released from prison, they continue to live a happy life. Before you lies the life of a quite repulsive person who is a genius in trading. He would sell you anything and it wouldn't matter to him if he made a loss. Martin Scorsese proves that he is one of the best directors in history because he showed how a three-hour modern opus can be made, a pedestal for a person who - I hope - is not an example of a modern hero. This is how "Dirty Trick" would look if it didn't have only great acting performances. I hope that the rumors about Martin Scorsese quitting directing are just false. And I also hope that the Academy will finally overcome its prejudices and once again rightfully appreciate this brilliant director.
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The ultimate cocktail of everything that can be called the American Dream. Martin Scorsese has done a damn fine job in his old age, and in an completely ultimate way has let the whole world know that not only can he fantastically reflect current trends (which in itself is damn remarkable given his advanced age), but that he is quite rightly one of the few who sets and creates new trends. The Wolf of Wall Street is a brutal load of the most depraved humor, a showcase of impeccable acting performances (apart from, yet again, the Oscar-winning DiCaprio, the boorish Jonah Hill captivates and the unforgettable Matthew McConaughey impresses in his mini-role) and the repeated spitting in the face of anyone who, perhaps out of divine duty, would like to claim some kind of moral ideals. Scorsese, at his venerable age, still has a pretty damn good sense of humor, so it's not really surprising when, after a riveting excursion into the tumultuous life of a dishonest but still immensely likable stockbroker, he screws a fairly fundamental moral dilemma into the story. And at this point comes perhaps the biggest slap in the face of the entire film, as Big Marty doesn't pull any punches (some useless ideals don’t even figure) and once again tells the whole world that in the end, the poor guy who still believes in some mythical institution of friendship and his own loyalty is the worst off (*SPOILER ALERT* – I have to admit, that in the end, it's not clear whether Donnie actually turned Jordan in or not – the feds came for him afterwards, too, but by just planting this additional seed of doubt about the last vestige of loyalty between Donnie and Jordan, Scorsese added another dimension). There is of course an incredible amount of drugs, alcohol, and sex, all sorts of pleasures that usually lead to a strong addiction, but the real addiction and obsession here is represented by sheer passion for something, far from just an obsessive need to keep making money. It is the need to be fully part of the bohemian world of the wildest parties, to be constantly in the thick of things, to push one's boundaries further and further and to try to satisfy one's greed for power, at least in an elementary way. It is a fool who describes Martin Scorsese as someone who is a stranger to any moral scruples and who agrees in all good conscience with what the real Jordan Belfort did. Scorsese has made it clear that if he describes something, it doesn't necessarily mean he agrees with it. DiCaprio was a little less restrained and flat out said let America dig into its own conscience. I don't think the indignant and morally outraged critics could never have done a better job of promoting this film than by throwing dirt on the filmmakers themselves. The crucial point in this case is that The Wolf of Wall Street really "merely" describes the rise and fall of Jordan Belfort and makes no attempt to judge or moralize (which would perhaps appeal to some pseudo-intellectuals, but Scorsese is too cunning for that). DiCaprio would have deserved the Oscar, of course, but given the tone and the aforementioned criticized approach to substance, I think it will be Matthew McConaughey who ultimately snags it.
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It’s been a long time since I enjoyed the full 180 minutes of a movie as much as I enjoyed The Wolf of Wall Street. Original, fun, exciting, well thought out, with brilliant acting and overall excellently made. I was having the time of my life for the most part, enjoying the perfect filmmaking, which presented capitalism in all its glory. PS: I don't care who wins the academy awards this year, but DiCaprio showed his best (Oscar-winning) performance, being clearly at the top of his game.
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