Martin Scorsese takes us behind the curtains of the financial world in his latest hit The Wolf of Wall Street. This being a Scorsese-movie, you are right to assume that there is a charismatic titular character and lots of illegal activities. This time, the renowned director uses the element of comedy more than usual, but also very tactically. The ridiculous party scenes - like the office monkey - do not hurt the story in any way. If anything, they make the film even more exciting.
In the end, the question is not so much if The Wolf of Wall Street deserves an award, but "When is the Academy finally going to give Leonardo DiCaprio his Oscar?"
How does The Wolf of Wall Street stack up against Wall Street and it's sequel Wall Street: Money Never Sleeps?
Read some review highlights below!
Synopsis: In The Wolf of Wall Street DiCaprio would play Belfort, a Long Island penny stockbroker who served 20 months in prison for refusing to cooperate in a massive 1990s securities fraud case that involved widespread corruption on Wall Street and in the corporate banking world, including mob infiltration.
Starring: Leonardo DiCaprio, Matthew McConaughey, Jonah Hill, Jon Favreau, Cristin Milioti, Jon Bernthal, Rob Reiner, Kyle Chandler, Shea Whigham, Jean Dujardin and others.
Pay no attention to the title: Martin Scorsese's new shoot-the-works epic "The Wolf of Wall Street" isn't about rapacious stockbrokers or shady financial shenanigans. It's about drugs. Lots and lots of drugs.
From its twisted opening scene, where a floor of coked-up boiler-room meatheads toss dwarfs for bacchanalian sport, the feverishly paced film is hell-bent on making the audience feel like they just snorted a Belushian mountain of blow. You can practically feel your teeth grinding to dust. As with any high, though, it also doesn't know when to stop.
In the end, The Wolf of Wall Street is an outrageous and repugnant reflection of something very real – and very rotten – at the core of our society. Some people will inevitably be so put off by the harsh composition of the message that they fail to heed the importance of that message; but in presenting so much of the bad and the ugly behind Wall Street so unflinchingly, Scorsese has crafted an insightful – and important – deconstruction of post-millennial America’s moral erosion. These are the barbarians at our gates.
Even Gordon Gekko looks like a veritable lap dog compared to Jordan Belfort, the self-proclaimed “Wolf of Wall Street” whose coked-up, pill-popping, high-rolling shenanigans made him a multi-millionaire at age 26, a convicted felon a decade later, and a bestselling author and motivational speaker a decade after that. Now, Belfort’s riches-to-slightly-less-riches tale has been brought to the screen by no less a connoisseur of charismatic sociopaths than Martin Scorsese, and the result is a big, unruly bacchanal of a movie that huffs and puffs and nearly blows its own house down, but holds together by sheer virtue of its furious filmmaking energy and a Leonardo DiCaprio star turn so electric it could wake the dead.
Highly watchable though it is, thanks to Scorsese’s generous and energetic approach to scene setting and breathless editing rhythms (regular Scorsese editor Thelma Schoonmaker is at it again), the film would be a lot more palatable if we were shown some of the consequences of Belfort’s actions. With that missing from the on-screen equation, it often seems like a slobbering admiration of what Belfort and his minions, for whom too much was never enough, got away with.