The Wolf Of Wall Street

It's hard to look away from Martin Scorsese's cautionary tale of greed, guts and Gecko-esque monologues. Leonardo DiCaprio plays Jordan Belfort, a young, hungry stockbroker who, through a series of dodgy dealings, ascends Wall Street, conjuring up a small fortune for himself whilst hastily indulging in a life of hookers and blow. Those who've done their homework will know it's based on the real-life memoirs of the real-life Belfort (who also snags himself a cameo at the end of the movie, introducing DiCaprio at a seminar).

A lot of criticism has been aimed at the movie, the focus straying on how it, potentially, could be seen as glorifying Jordan Belfort's lifestyle and his dirty, aggressive methods. He sure has a lot of fun but I question whether any sane person would opt to live that way. He's got the money, a beautiful wife, a luxurious yacht yet he's never portrayed as a happy person - his bitterness and rage is released towards the end of the film in a shockingly visceral scene as he attempts to remove his daughter from his wife's care, with force. There's no glorifying of any kind there.

Many will draw comparisons with Scorsese's Goodfellas and, in truth, the two travel side-by-side for a considerable length. In both movies, there is little hint of a plot, but a tugging to go one way, as far as bad taste will possibly dictate, before highlighting the spectacular fall from grace. Both sets of characters are criminals, one group are gun-toting and maniacal, the other group pearly-white grins and, also, maniacal. There are no friends on Wall Street, a harsh fact but an understandable truth given the context, particularly in this movie. Jonah Hill takes on the role of Belfort's best friend, Donnie, once again proving that Moneyball was no illusion. He's as unhinged as Belfort and enjoys the lavish lifestyle, replicating as little remorse as possible - there's no time for sentimental reflection here, highlighted by Belfort's gung-ho decision to fight the FBI and continue making money when all good sense demands he step down, cut a deal and live off his millions. Belfort's deranged view: where's the fun in that? And so says Scorsese's audience.

The Wolf Of Wall Street is a good film, perhaps even a great one. Whether or not it'll stand the test of time and deserve utterance amongst the likes of Goodfellas, Taxi Driver and Raging Bull remains to be seen. You'd be hard-pressed to find a Scorsese movie that deals in such outrageous set-pieces and situations; it's definitely his funniest film though we're mostly laughing at Belfort, his senseless addictions and his habit of consuming and devastating everything around him. Scorsese deals in mindless excess here and many will raise an eyebrow at the movie's length (two hours, fifty-nine minutes), though it flows well, packed to the brim with twisted entertainment. It could have been condensed but when dealing with such outrageous source material, Scorsese was never liable to toe the line, he jumps head-on and encourages DiCaprio to the do the same (an Oscar with this guy's name on it is waiting down the line, though perhaps not this year), dealing out an unblinking performance, in terms of directing and acting. When the camera could choose to cut away, it doesn't (a trend that's becoming increasingly prevalent nowadays, thankfully), and like it, we, the audience, have the choice to look away but never do.

Whether you like it or not (and it's met a very stubborn disapproval amongst some circles), there is little morality to be found here. DiCaprio's on-screen charisma and hi-jinks are enough to anchor an audience onto his side though it's Scorsese who, after navigating us through a torrid series of depravity, is able to effortlessly remind us of who this man is behind the curtains.

12 Years A Slave

12 Years A Slave starts its harrowing journey by reminding us that the following tale is based on truth. It then proceeds to recount a story of betrayal, violence and utmost survival. It tells of Solomon Northup, a black man living in the northern territories of 1800s USA, a free man, until he is unceremoniously duped, thrown into shackles and sent to work across a series of plantations and cotton fields, turning this antebellum tale on its head.

In terms of narrative, what we have is relatively straightforward, though it begins en media res, an overused but efficient cinematic technique. Solomon's experience gradually wears him down, though, early on, he proclaims he will not wallow in sorrow or fall into despair. He's a remarkably strong character, accentuated by a remarkably strong performance by lead, Chiwetel Ejiofor - you hear that? Oscar bells a-ringing. It's a subtle performance and much of the story relies on the way director Steve McQueen has the camera linger on Northup for an extra 30 seconds or so, letting him do his work as well as lingering, rather uncomfortably (that's the point) on the atrocities committed by the slave-owners and their overseers. A scene late on stands out, but rather than let the audience use their imagination, McQueen allows us to experience it in its entirety, barely any cuts thrown in, one continuous moment of pain, grief and despair.

McQueen has made note of the lack of films depicting slavery in Hollywood (I love it, but I don't think Django Unchained rings the same bitter truths) and he's certainly gone a way to creating the essential entry that others will aspire to and be judged by. This movie has something of a happy ending, maybe bittersweet is more apt, considering what comes before, but it ends assuring the audience that this was an anomaly, a 1 in 1000 lightning strike, a story worth telling. There is no almighty push for the others on the plantation that Northup leaves behind - for many of them, worse off than him with his education and talents, things will only get worse - and we're meant to remember them the most. Aside from Ejiofor, Lupito Nyong'o plays Patsy, a unique slave, shown a warped affection by vicious, drunk slave owner Edwin Epps (McQueen regular Michael Fassbender). Her performance is stunning and captures both sides of the spectrum, a willingness to please, to survive, to do what is required of her as well as a dark turn of hopelessness, beginning Solomon to end her life. The final shot of her desperately trying to cling to him as he leaves for a better life, knowing her own will probably be over soon, packs a punch. 

Aside from all this, there are a fair few solid performances from household names in here - Benedict Cumberbatch continues his launch as benevolent slave owner Ford, an odd character who seems to be living the way a southerner is expected, but with a clear conscience. Fassbender is terrifying and hard as Epps, alternating between a soft-spoken, veiled menace to an explosion of rage, seemingly with ease. Brad Pitt has seen a lot of marketing for this film, the film he's produced, and he has a couple of good, important scenes. He's something of an aberration as well, a white man who calls Epps out on his actions and promises something better for Solomon. It's an important moment as we've got to this point, with Solomon, not knowing who to trust, but like him, we've been through so much that the sheer desperation is all we've got, all he's got. The score chimes in every now and then, representing the movie in its entirety; subtle, but not afraid to pack a punch, always inspirational and morbidly uplifting.

It's a favourite come Oscar season and it brings with it some uncomfortable truths (again, the point) but it's impossible to deny the significance of the film, as well as the technical brilliance and star turns. It's a long film, just over two hours, but it's hard to look away, running down the time with scene after scene, never wasted, never lingering too long in one place, always ready to shock and awe. It's an inspirational story, one that needed to be told, one that, all too sadly, could be considered as relevant today as it was back then. It's a total triumph of cinema and evoking emotion - I doubt many will chatter excitedly as they leave the cinema and many will remain silent as they shuffle out the doors, long after the final credits roll. But, again, that's probably the point.

American Hustle

David O'Russell's had a busy year; fresh off the success of The Silver Linings Playbook, he's back, reunited with Bradley Cooper and Jennifer Lawrence, as well as Christian Bale and Amy Adams (from O'Russell's greatest effort, The Fighter). It's a fantastic cast and each member contributes in their own unique way, adding an element to the film, playing off one another with precision, flair, humour and that surreal slice of Scorsese-ism that, ultimately, makes the film something of a success.

Somewhere around the mid-point of the movie, the moment I realised that the director's selection of tunes was stylishly obvious, I made sure to note how surreal the movie truly was. Essentially, it was all a con, it never really happened - nothing was real. Of course, that's one way of looking at it. With a layered story such as this one, who really knows what was going on - Richie (Cooper) didn't seem to have a clue and I guess we've been planted with him for this one. How long were Irving and Sydney plotting all this? Did it come to them late on or was it always in the works? It's never actually answered though there is one scene which seems to point to the former. Either way, you make your own assumptions - this is not a story, it's a character-piece, like most of O'Russell's films, and he'd have it no other way.

That being said, it does meander this way and that for a large portion of the movie - Sydney and Irving are con-artists, taking advantage of a gullible nation that's looking to make a quick buck until, bam, they're caught by FBI Agent, Richie. He claims he'll provide them with leniency if they aid him to catch four other con-artist. That seems like a plot and a direction, yet, all of a sudden, we're introduced to politician Carmine (Jeremy Renner), who may, or may not, be a shady character - again, it's never really clear. He appears on and off throughout the movie as if the plot depends on it but it's never really that vital - it provides Irving with some form of emotional backdrop, though most of that is provided with his unstable wife, Rosalynn (Lawrence).

Perhaps it's a movie that has to be seen twice to be fully appreciated - my viewing seemed all too brief and for much of it, I was viewing it out of necessity as opposed to desire. It may have altered my viewing somewhat but I expected more. It's quite a good time and, as mentioned, the performances are good fun and though the music was painfully obvious and never really in-keeping with the movie, it added to the flippant tone the movie seemed to employ.

For me, this is your average 7/10 movie - it's not something special and won't be the movie O'Russell is remembered for but it follows a collection of offbeat, unique characters and has fun with it. Though, partly based on a real event, you're never so sure if what you see should be taken seriously. These are criminals after all.