Film Review: The Wolf of Wall Street

The Wolf of Wall Street is Martin Scorsese’s 23rd feature film and even with the director entering his twilight years, he proves that he can still pack a punch. Based on the memoirs of the morally deprived New York stockbroker Jordan Belfort, Scorsese is reunited once again with Leonardo DiCaprio for what is arguably one of the best, yet most controversial, films he has ever made.

The Wolf of Wall Street is a very welcome return to the gangster genre for Scorsese. But these gangsters aren’t the hot-headed wise guys of Goodfellas or Casino. Rather, Scorsese trains his cross-examining spotlight onto stock brokers and investment bankers, using the almost unbelievable tale of Belfort to turn their rituals up to eleven. These guys are quick on the dial rather than quick on the draw. 

Narration from the film’s lead and the signature blues soundtrack are all Scorsese trademarks, but to consider The Wolf of Wall Street as simply a pastiche of Goodfellas would be criminally underselling the film. What makes it stand on its own hind legs is that it's also the funniest film Scorsese has ever made. 

Lasting bang on three hours, you’d expect the smug, drug-addled, orgy of anti-heroism that is DiCaprio’s Belfort to grow tiresome. However, from a game of midget-tossing to a demonstration of taking out-of-date drugs, every scene bests the last as Belfort and his pack of money-hungry wolves indulge in every adolescent fantasy conceivable. 

Even his bragging asides, where he talks down to the audience, are so full of wit and cheek that you both laugh with, and hate, his character. It’s a full on performance that could hopefully lead to Leo finally winning that Oscar he has deserved for the past twenty years – although my money says that he won’t. 

Much of the humour stems from the runaway dialogue and more importantly the improvisational skills of the supporting cast. Matthew McConaughey appears all too briefly in a scene stealing performance as the inspiration behind Belfort’s money making dreams. And Jonah Hill is hilarious as Belfort’s all too eager partner in crime Donnie Azoff.

Naturally, the film has come under fire, with some criticising it for reveling in the scandalous antics of Jordan Belfort and not giving the full picture of his actions. Indeed not once does the film show what is happening on the other end of the telephone to those who are giving up their hard earned money to rogue traders for these “pump-and-dump” scams. 

In response to the backlash, DiCaprio and Scorsese are selling The Wolf of Wall Street as a “cautionary tale”, but not one that warns us off giving into the temptation of being consumed by greed. Instead, it’s a tale that warns us that characters like Belfort do exist within our financial system, and that realistically they will never get the justice they truly deserve.

Reviewed for The Big List NI

Film Review - American Hustle

The opening caveat at the start of American Hustle is perhaps the most honest part of the film. “Some of this actually happened,” is far more sincere declaration than dubiously sticking “based on true events” all over the poster, which too many films are fond of doing these days. What makes it all the more surprising is that such a statement is made in a film that involves con artists, sting operations and the most obvious toupee since Trump. 

The toupee in question could sit on the head of any one of the ensemble cast, given the garish disco-era fashion sense this film requires. However, the most obvious comb over belongs to Christian Bale who has piled on the beef to convincingly portray con artist Irving Rosenfeld. 

Running a rather low-key operation with a former stripper turned faux English royal, played with brilliant duality by Amy Adams, the pair are eventually caught red handed by an opportunistic yet naive FBI agent Richie DiMaso, played curls and all by Bradley Cooper. 

The true events behind David O. Russell’s black comedy stem from the very real FBI ABSCAM operation from the late seventies and early eighties. Built from the bottom up, the scam involves a mouth-wateringly lucrative deal from a fake sheikh that even the most honest politician can’t resist. Unfortunate news for Jeremy Renner’s quiffed good guy New Jersey mayor, whose loyalty to his community places him at the start of a food chain. 

Taking a leaf out of his Silver Linings Playbook, David O. Russell puts the spotlight on the personality clashes between each tenacious character rather than over detailed plot explanation. In fact, the hairspray holding American Hustle together is of a similar brand used by Scorsese in Goodfellas.

Unexpected cameos aside, the narcissistic narration from the key players isn’t quite chock full of wise-cracks as Ray Liotta’s Henry Hill, but serves to move the plot along between scenes, even if characters do take the opportunity to play the blame game with one another from time to time. 

These larger than life characters all stand out both physically and vocally, thanks to an incredibly witty script. Bale may have undergone physical change, but Amy Adams flits between seductive femme fatale and vulnerable girl next door. Bradley Cooper’s impatient enthusiasm becomes consumed by vanity and egotism, much to the distain of his long suffering superior officer, portrayed by Louis CK in some of the film’s funniest scenes.

As another returning Silver Linings alumnus, Jennifer Lawrence gives a hilarious performance as Irving’s forever frustrated, apparently agoraphobic wife Rosalyn. Initially being used as a pawn by her hustling husband, she lives up to her name as the “Picasso of passive-aggressive karate,” particularly during one scene involving a microwave, or a “science oven” to the Rosenfelds. 

Along with the showy hairstyles and the gaudy fashion, the soundtrack also adds authenticity to these government sponsored fraudsters. From smoky lounge-act jazz to the get-down disco boogie, the soundtrack comprises of big memorable hits that would sound clichéd if in any other film. 

If there’s anything is to be believed in American Hustle, it’s the attention to detail – or the “little things” as Irving Rosenfeld would say. However, as the title suggests, much of David O. Russell’s crime caper certainly comes in “American” sizes. With its big cast, big hair, and a big running time, American Hustle is a sexy and surprisingly witty black comedy that oozes with sugary sweet style and greasy charm.

Behind the Music of the Coen Brothers...

My first piece of 2014 (even though it was written in 2013) was published this week in the January edition of the QFT Guide. To coincide with the upcoming release of Inside Llewyn Davis, I took a look at the importance of music in other Coens' classics - The Big Lebowski and Oh Brother, Where Art Thou?

Once upon a time ago, I tried a bit of music journalism and even edited a local music magazine. I decided for various reasons it wasn't for me and that I should just stick to what I'm more passionate about (i.e. movies and video games). However, listening to soundtracks for these films (including the new one) and writing this article made me feel a little nostalgic about the good times I had reviewing gigs and albums.

Anyway, I've always been a huge fan of the Coens so getting asked to write about them was an absolute pleasure. I just hope Inside Llewyn Davis lives up to the hype...