Tag: Martin Scorsese

Screening Room: ‘Made in England’

On By chrisbarsantiIn Film - New, Film-DocumentaryLeave a comment

My review of the new documentary Made in England: The Films of Powell & Pressburger ran in Slant:

Given the sense of wonder and promotion of emotion over reason that courses through Michael Powell and Emeric Pressburger’s work, it’s appropriate that David Hinton’s Made in England: The Films of Powell & Pressburger starts with a recollection of a defining childhood moment. The film’s narrator and one of its executive producers, Martin Scorsese describes himself as an asthmatic child confined indoors and thunderstruck by these old films he was seeing on television. Giddy with the memory of being a young boy accidentally coming across fantastical mindblowers like The Thief of Baghdad, Scorsese says there was simply “no better initiation” into what he calls “the mysteries of Michael Powell”…

Here’s the trailer:

Screening Room: ‘After Hours’

On By chrisbarsantiIn DVD - Film, Film - RepertoryLeave a comment

I reviewed the new Criterion Collection release of Martin Scorsese’s low-budget 1985 nightmare comedy After Hours for PopMatters:

Now available in an extras-packed Criterion edition, Martin Scorsese’s somewhat forgotten entry in the One Crazy Night genre, After Hours (1985), has most of its hallmarks but gives the loopiness a spin that’s both eerie and carnivalesque…

Here’s the trailer:

Screening Room: ‘The Irishman’

On By chrisbarsantiIn Adaptations, Film - NewLeave a comment

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In Martin Scorsese’s The Irishman, Robert De Niro plays Frank Sheeran, a reputed hitman who charts a course through a baroque landscape of postwar American intrigue, crime, and paranoia.

The Irishman is playing in a few theaters now, as well as on Netflix. My article about it is at Eyes Wide Open:

Based on Charles Brandt’s book I Heard You Paint Houses, about the decades Sheeran spent as a Zelig-like mob enforcer and assassin,The Irishman is one of the more curious and hard-to-pigeonhole gangster movies that Scorsese has ever done. Pulling back from the music-strobed buzziness of Goodfellas and Casino, and worlds away from the Nouvelle Vague/Cassavetes jitters of Mean Streets, it’s a cool, elegiac, and somewhat detached epic whose three and a half hours float by with a disconcerting calmness…

 

Screening Room: ‘Silence’

On By chrisbarsantiIn Books, Film - Awards, Film - New1 Comment

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A spiritual epic of the kind he hasn’t tried since Last Temptation of Christ, Martin Scorsese’s Silence is playing now in limited release and should be expanding nationwide soon. My review is at PopMatters:

…with his long-gestating adaptation of Shūsaku Endō‘s 1966 novel Silence, Scorsese returns to a scenario where souls are lost and seeking answers. Set in 17th-century Japan, a world distant from his usual contemporary American settings, the movie presents characters who willingly undertake punishments as brutal as anything experienced by the great martyrs of his early work, from Jake LaMotta to Jesus Christ…

Here’s the trailer.

Weekend Reading: December 9, 2016

On By chrisbarsantiIn Omnium GatherumLeave a comment

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TV Room: ‘Vinyl’ Misses a Step With Punk

On By chrisbarsantiIn Omnicultural, TelevisionLeave a comment

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The newest Martin Scorsese/Terence Winter series Vinyl is in many ways like their last one, Boardwalk Empire: A pulpy concoction of jagged historical anecdotes thrown into the HBO antihero blender. This time, instead of bootleggers and crooked politicians conniving during Prohibition in a glitzed-up Atlantic City, it’s an origin story for punk (and potentially hip-hop) set in a rotting 1973 New York.

vinyl-posterVinyl is running Sunday nights on HBO. My review of the two-hour Scorsese-directed premiere is at PopMatters:

It’s easy to see what’s grabbing the attention of cocaine-dusted record exec Richie Finestra (Bobby Cannavale) at the concert that bookends the two-hour premiere episode of Martin Scorsese and Mick Jagger’s HBO series Vinyl. First, he’s watching the New York Dolls, slashing and burning their way through “Personality Crisis” at the downtown firetrap Mercer Arts Center before a crowd of rangy and be-glittered kids with the look of fervent religious converts. Second, although his company, American Century, seems to have once had a few hits, it’s now a creatively irrelevant laughingstock (nickname: “American Cemetery”) that he’s trying to unload to a cabal of clueless Germans before they realize just how cooked the books really are. His life is unraveling, and his juices are dry (more on that in a minute). The guy needs a fix. Rock and roll is there to save him, for the first time in far too long..

Here’s the trailer: