Directed by Martin Scorcese
Screenplay by William Monahan, based on the film Infernal Affairs
Starrring Leonardo Dicaprio, Matt Damno, Jack Nicholson, Vera Farmiga, Ray Winstone, Alec Baldwin, Martin Sheen and Mark Wahlberg
Martin Scorsese should have an Oscar – Martin Scorsese should have a fistful of Oscars. A fistful in both hands. He is a legend of cinema, with talent enough that he can hop genres and eras with relative ease, making his style fit them all, no matter how disparate then may be. Better, he’s been consistently good for more than four decades, without the flameout in quality you get from many other so-called legends. Add to that he’s a student of film and treats it legitimately, and reverently, as art, and you can see why he should have more Oscars than he know what to do with.
But he doesn’t have more Oscars than he knows what to do with – he only has the one. Not for directing Raging Bull or Goodfellas, but as director of The Departed.
Let me ask you a question – which is worse: Continue reading
I don’t know what gave me the idea to do a list of the best movies with severed digits – in this case, digits is not meant in a mathematical way, but in the fingers and toes way – but since all lists are inherently arbitrary constructed and a little stupid (AFI’s 100 Years…100 Laughs, anybody?), it seemed all right just to embrace these lists for all their stupidity and pick something outre.
So, here it is, the ten best movies that prominently feature a severed finger. Or toe.
(Incidentally, I thought about calling this ‘pieces and parts’ but chose an equally silly title.)
(Author’s note: This piece was originally a four part essay that has been joined together here as one)
It’s generally accepted that since the advent of motion pictures, movies have gotten longer the further we’ve gotten away from the first motion picture. However, pinpointing the exact reason for the increase may be impossible, probably because there is no one cause. Still, while it might be impossible to pinpoint exactly why, I’ve been curious to know just how the ‘auteur theory’of filmmaking might have played into the ballooning of run times, specifically, does the more revered a director becomes, either critically or financially, result in longer films? Continue reading