Tag: Comedy

FEAR, ANXIETY & DEPRESSION (1989)

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Written & Directed By: Todd Solondz 
Cinematography: Stefan Czapsky 
Editor: Peter Austin, Emily Paine & Barry Rubinow

Cast: Todd Solondz, Max Cantor, Alexandra Gersten, Jane Hamper, Stanley Tucci, Anne De Salvo, Jill Wisoff, Kathleen Gati

Ira is a nervous playwright waiting and hoping to succeed with his art, which he takes it very seriously. But following his dreams and ambitions isn’t something easy to do, especially when he has to consider the points of view his family, his artist friends and his girlfriend will provide to him whenever he exposes his incomprehensible works of art.

Finally got a chance to see writer/director Todd Solondz’s long-lost (for me) first film. This Great white whale of mine 

He has disavowed the film Claiming he felt like creative control was taken away from him.

One might enable to see why. Even though it isn’t a train wreck. It is actually entertaining in a goofy, surrealistic way. It still has the same themes as his later films. Exactly what the title lets you know. 

Only here he is the star as with his early Short films. It’s hard not to think that these films are autobiographical. As this ends a one of era again and he never appears in any of his films ever again.

As in future films, there seems to either be surrogates or he just writes more for ensembles and wanted to make films about characters and less making it seem about himself. 

This film obviously Comes out Indebted to Woody Allen as his character is definitely like one of Woody’s, a man who seems to be romantic and constantly Full of anxiety, nebbish, and strives for more. Who isn’t happy in his current life and then once he loses it realizes how good he had it. 

Though not as grand in scope this film reminds me of a lower-budgeted I HEART HUCKABEES more for its zany surreal comedic bits at times and its lightness and bitter comedic tone.

As most of the characters talk about being real artists but are aloof and pretentious and either needy or predatory.

Junk is the perfect femme fatale. As she lets you know what she is all about but the lead character stays enamored of her for her looks and what he eyes as tough attitude when she is just rude. Though He thinks her mysterious as she is the type of person he has never encountered. So she is all new to him. Treating him badly but he keeps coming back for more.

While he treats a woman who is head over heel for him badly the same way junk treats him.

He is a character. Struggling play-write who constantly seems to lose while those around him keep seeming to become successful. Like a high school friend who decided to write as a hobby become the toast of Broadway. While he gets a bad review in the village voice that everyone seems To read.

Or his best friend who hates his writing but encourages him. Who always seems To date or seduce whoever he seems to be interested in or pining for.

Even when junk Offers herself to him sexually he Messes it all up before he can go through with the deed. Or when he gets the girl

Of his dreams how she seems to Tolerate him but still Pine for her asshole ex. He seems to bring this misery at times upon himself.

Though no matter what it never becomes completely depressing as the film Keeps the mood and material goofy and silly. Even though it offers up a sad ending it ends with a little hope. That includes a rare happy ending.

So while a sadder woody Allen-Ish film a pleasing one and fascinating to see where his career began and see the seeds of future films and style.

The film also has a nice look at classic New York around 1989 mainly Greenwich village before it Became so gentrified 

I can identify with him and his films as I feel like what I write is similar and that most of my Early films or projects usually

Are more extensions of daydreams or exaggerated feelings and my self-consciousness put out there. Not to mention having humor about and bringing up uncomfortable subjects that are a part of life that involve characters trying to be good but are awkward in their own skin especially socially. 

As they have Consciences here everybody seems to get by seemingly normal without realizing at times how ridiculous or Cruel they are naturally

Grade: C+

SWEET LIBERTY (1986)

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Written & Directed By: Alan Alda
Cinematography: Frank Tidy
Editor: Michael Economou

Cast: Alan Alda, Michael Caine, Michelle Pfeiffer, Bob Hoskins, Saul Rubinek, Lise Hilboldt, Lillian Gish, Lois Chiles, John C. McGinley, Lynne Thigpen 

Michael has written a scholarly book on the revolutionary war. He has sold the movie rights. The arrival of the film crew seriously disrupts him as actors want to change their characters, directors want to re-stage battles, and he becomes very infatuated with Faith, who will play the female lead in the movie. At the same time, he is fighting with his crazy mother who thinks the Devil lives in her kitchen, and his girlfriend who is talking about commitment.

When it comes to Alan Alda. A little is a lot though I am still a fan of the series he starred in M.A.S.H.

He comes off too smug throughout even when trying to be earnest. As A know all. As like him, the film feels like it is speaking down to others and considers itself too intellectual.

This film comes off as Woody Allen lite. It feels too general but too sharp and kind of whitewashed.

Wonder if at the time this was seen as biting humor. Watching it now feels basic.

The film has a light touch with a little depth. Which moves along breezily. As it is full-on comedic 

Lilian Gish as Alda’s mother seems here more to work and to be a big name in the cast.  As her character is another problem for the lead character to juggle. Whose storyline goes nowhere. Not to mention makes his plights more personal. 

Michael Caine is effortlessly charming and aloof. He manages to stay in control of his growing set of affairs. Yet never breaks a sweat.

Bob Hoskins is in full New York City accent mode as a screenwriter trying to make it big. 

The film In its early scenes is more about the behind-the-scenes movie-making comedy. That feels charmed with itself. Before becoming more of an intellectual farce of sorts.

The score is kind of hammy. As this film feels more made for video. As it’s less cinematic and more small-scale simple. 

If not for some language and sexy scenes. This film is clean enough to be a TV movie with a movie star cast. 

Despite my misgivings, the film Does have its charms as a film about late to middle age angst 

This film would make a great companion piece with the film STATE AND MAIN

Grade: C+ 

WHEN THE CAT’S AWAY (aka CHACUN CHERCHE SON CHA) (1996)

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Written & Directed By: Cedric Klapisch 
Cinematography: Benoit Delhomme 
Editor: Francine Sandberg 

Cast: Garance Clavel, Zinedine Soualem, Olivier Py, Renee Le Calm, Simon Abkarian 

Chloe, a young woman, is going on holiday. She entrusts her beloved cat to Madame Renée’s care. But one day Madame Renée (an old lady of the neighborhood) can not find the cat. Chloe starts searching the neighborhood… This is the pretext for the exploration of a quarter of Paris and his inhabitants.

A French film that starts with a simple premise of a young woman looking for her missing cat. That ends up leading to a bunch of adventures and experiences that usually involve some kind of romantic entanglement

This is the first film of French writer director Cedric Klapisch that I saw that perfectly sets up his usual bohemian style. His films work more as ensemble pieces with a main character in the middle. Who this story usually either revolves around or is at the center and cause for situations

As the movie goes on this is really a film about the neighborhood and its citizens more a kind of anthropology study to a degree. As we watch how they work like a well-oiled machine. With one another. While also watching how their quirkiness helps to guide and make connections for the main female character In The middle of all of this.

The film is eclectic and colorful and mostly fun than anything else, not Too dramatic. Yet at times romantic and showcasing how easily we can read into things and believe people at their words a little too soon before they have proven themselves.

This is a French film that was perfect for the time period and comes off as a quirky French film where you want to be in the movie or move into this neighborhood. As it is a classic neighborhood with more younger people moving in and experiencing it’s the charm. So that it feels like that French getaway you might have always wanted to experience in your 20’s so you would get the modern and old school In Equal measure. as you get an insider look at all around France and the different neighborhoods or districts as they prefer to call them

Though the film doesn’t really have too much to do with the story or plot. As you more or less follow Chloe, the main character on her journey, and get to feel or at least witness her experiences. So the film is kind of free form in a way without being experimental. As for all of its freedom, there still feels like there is structure here.

If you have seen his later films THE SPANISH APARTMENT, RUSSIAN DOLLS and CHINESE PUZZLE 

This will be a little familiar but allows you to see where it all started at least In theme. Though they are constructed they manage to surprise you and add color to the films through the characters. Who we get to know a bit about and get to spend a little time with. As they only add to the enjoyment of the picture.

GRADE: B

THE TRIP (2021)

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Directed By: Tommy Wirkola
Written By: Tommy Wirkola, Nick Ball & John Niven
Cinematography: Matthew Weston
Editor: Patrick Larsgaard

Cast: Noomi Rapace, Aksel Hennie, Atle Antonsen, Christian Rubeck, Andre Eriksen, Nils Ole Oftebro, Stig Frode Henriksen

A dysfunctional couple head to a remote cabin to reconnect, but each has intentions to kill the other. Before they can carry out their plans, unexpected visitors arrive and they face a greater danger.

This works as a modern-day spin on the film WAR OF THE ROSES only not as epic and in less time. Not to mention a lot more gruesome. As it takes place generally over a weekend and in one location mainly, a cabin 

As the couple plots, the other’s demise with traps and numerous set-up’s even accomplices. Their plans are put into disarray once intruders make themselves know who has been watching their interactions. 

The film has a dark and violent sense of humor

The film stays inventive and keeps you guessing as loyalties keep changing and make you wonder if it is out of survival or is the hate truly that real.

So the film keeps shifting and you understand each of the main characters point of view. As the escaped criminals are so hateful that you can’t help but root against them.

The film stays creative by taking these tight and cramped spaces and making them seem more luxurious than they should be as they manage to shoot the scenes more vividly than expected not with crazy angles but with camerawork that feels that there is more action involved then there actually is. 

The male character goes through more physical torture throughout and breaks down quite a bit 

Noomi Rapace is perfect at playing cold one minute and caring the next. Even while managing to always have the same look on her face. 

Knowing it is a dark comedy you expect some kind of violence, but the film gets quite gruesome and gory but manages to always stay humorous and at times hilarious. As it manages to keep surprising you as an audience member. Even when scenes seem to be heading to a familiar place. 

The ending could have been a bit stronger as it plays out as some kind of satire that feels a little bit odd with what we have just watched and gone through with the characters 

Grade: C+

WINE COUNTRY (2019)

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Directed By: Amy Poehler
Written By: Liz Cackowski & Emily Spivey 
Cinematography: Tom Magill 
Editor: Julie Monroe 

Cast: Amy Poehler, Rachel Dratch, Maya Rudolph, Ana Gasteyer, Paula Pell, Tina Fey, Jason a Schwartzman, Maya Erskine, Cherry Jones, Liz Cackowski, Emily Spivey, Jay Larson, Kate Comer 

During a vacation to Napa Valley, a group of long-time friends reunite and revisit past choices in this hilarious and heartfelt comedy. 

This film had me with the cast alone. Though while entertaining I can’t say that this film has too much to feed on.

As it is a middle-life crisis movie for women. That stays hilarious throughout but it also feels very lightweight and More of a reunion for ex-female SATURDAY NIGHT LIVE cast members. Though it does allow them more of a showcase than usual.

As each major cast member gets their time to shine and a major plotline. Some are just not as serious as others. When commonly cast men Evers in other films are relegated to memorable cameos. Here they get to shine.

The film is light entertainment that feels more like fluff but stays funny and entertaining throughout.

Though even the so-called normal characters end up being zany or skewed in their own way. 

Everyone is good but Maya Rudolph is a particular delight and comes off as the MVP. Not to mention she is the only character whose story comes close to being actually dramatic.

Like the liquor, it celebrates in the title. This movie goes down like a fine one. 

The characters seem more like types or come across that way at times. Though it’s not central it feels like it is about empowerment to a certain degree and watching women who are successful in some ways fall apart in others where their personal weaknesses lie.

The film even takes a look at generational differences. All in all, it is just a fun hang-out movie without too many stakes but plenty of funny scenes and characters. Who are relatable 

The film wants the audience to watch but also take part in the fun times. Where it almost feels like a hangout movie. 

Grade: C+

POMS (2019)

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Directed By: Zara Hayes
Written By: Shane Atkinson 
Story By: Zara Hayes & Shane Atkinson 
Cinematography: Tim Orr
Editor: Annette Davey 

Cast: Diane Keaton, Jacki Weaver, Celia Weston, Alisha Roe, Charlie Tahan, Rhea Perlman, Pam Grier, Phyllis Somerville, Patrica French, Bruce McGill 

POMS is a comedy about a group of women who form a cheerleading squad at their retirement community, proving that you’re never too old to ‘bring it!’

Usually every summer there are certain types of films that come towards the end of that season. There is the urban thriller that has something to do with domestication. There is a fantasy romance that somehow involves travel or older characters or both and there is the older ensemble movie. Which usually involves a group of older female or male characters whose characters get together for a cause.

Somehow have a setback or are underestimated because of their age. Then manages to impress and show off the young people. 

The film will usually involve the character doing things you wouldn’t expect them to do at that age. Usually, the cast will be filled with recognizable actors. Who will either all get a chance to shine or two of them will be more the focus. While the others fall by the wayside (Think the movie CALENDAR GIRLS) the other way is that it is an ensemble filled with all ages whereas a group they bond and we see the individual problems of each across the ages.

This film is the one that involves an ensemble and two of the actors take the lead. As well as having older characters doing something together that is only thought to be done by younger people. Here it is cheerleading. The two main leads are Diane Keaton and Jacki Weaver 

Jacki Weaver is more the flirty and rambunctious character. Who comes across like Blanche from THE GOLDEN GIRLS. She is also more the wild child and veteran of the retirement community they are part of.

Diane Keaton is the new resident who mainly came there to be alone and dies slowly from Cancer, but as she keeps being made to socialize and brought into her neighbors schemes. She decides to do an activity as a last hurrah, also to stick it to the community board and make a mark.

We see as they recruit new members and even has a touching side story. Where an older woman has bullying kids who won’t let her do what she wants. As they think they know what they want is best.

The film Is predictable but it’s Supposed to be it’s Light and is more for an audience to enjoy, not necessarily think about and more have the film affect their feelings. Not to mention be representative of the audience they want to attract and also for the younger audience members maybe remind them of their loved ones. 

While enjoyable, one is definitely bit the audience for this one. Not to mention it all feels too familiar. There is no attempt at anything new or original. So that most of the film feels like it’s On autopilot.

So while it’s Great to see these older actresses get a project and screen time. One only wishes it was either stronger or worthy of their time and talents. Then again they can’t all get the roles Susan Sarandon and Helen Mirren seem to get that offer more versatility and flexibility.

Grade: C-

COME AS YOU ARE (2019)

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Directed, Cinematography & Editor: Richard Wong 
Written By: Erik Linthrost

Cast: Grant Rosenmeyer, Hayden Szeto, Ravi Patel, Gabourey Sidibe, Janeane Garofolo, C.S. Lee, Jennifer Jelsema

Three young men with disabilities hit the road with a jaded nurse driver to a brothel in Montreal catering to people with special needs. Remake of the acclaimed Belgian film ‘Hasta La Vista’.

First off yes this is a heartwarming film that is predictable focusing on a road trip of ill-gotten but understandable means.

This is a rare film that focuses solely on characters with disabilities that seems to only come along every so few years. Even though most of the actors aren’t disabled they sell it through their actions.

Whereas even when it comes to their parents they have to prove their gaining of independence.

While the film does the obligatory scenes of showing them as normal human beings with the same desires as most. Then have to prove to others who are prejudiced against them that they can do things like jokes. The film offers a diverse cast 

This is also a film that is a little lightweight and while it has its little adventures. The strength of this movie is the characters and their different personalities. They eventually charm you so that you are forging for them and want to see what kind of calamities they get into next. 

It’s episodic in brute but as the film goes along the characters grow on you. So that while they might begin as stereotypes. They eventually grow into well-rounded characters. Who you grow to appreciate. 

The film even has an unexpected romance. It truly is an unexpected hidden gem. That gets by More on Emotion than filmmaking.

Grade: B

GIRL ASLEEP (2016)

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Directed By: Rosemary Myers 
Written By: Matthew Whittet (Based on his Stage Play) 
Cinematography By: Andrew Commis 
Editor: Karryn de Cinque 

Cast: Bethany Whitmore, Harrison Feldman, Amber McMahon, Matthew Whittet, Eamon Farren, Tilda Cobham-Hervey, Danielle Catanzariti, Pia Moutakis, Clara Moutakis 

The world is closing in on Greta Driscoll. On the cusp of turning fifteen she can’t bear to leave her childhood, it contains all the things that give her comfort in this incomprehensible new world. She floats in a bubble of loser with her only friend Elliott, until her parents throw her a surprise 15th birthday party and she’s flung into a parallel place; a world that’s weirdly erotic, a little bit violent and thoroughly ludicrous – only there can she find herself. Based on the critically acclaimed production by Windmill Theatre, The film is a journey into the absurd, scary and beautiful heart of the teenage mind.

The film feels like a dream which at least a third of the film appears as a Out and out fantasy that makes no sense except to the main character and seems to be a parable about her dilemma. It feels more like the work of a singular imagination that makes sense to only a few.

 Luckily the film works off of offbeat charm and style. As well as being absurd with details such as the date of her birthday being February 31st, The twins that constantly are the henchwomen of the main characters. Album cover art coming alive an becoming a full character and just about the entire third act that becomes a weird rural fantasy.

While the film definitely has a vision and most of the film could usually be explained away as more of a vivid exaggeration that comes off surreal of how it feels to be growing from a child into a teenager. Where you still have that innocence but the real world starts to beckon harder and harder putting pressure on you. Though either way the characters would still be considered quirky from any other view.

The film actually started out as a stage play. Which helps explain the limited locations and it seems the need to get the most out of them. Which also adds a claustrophobic feel and intensity in some scenes. It’s what helps make the film feel vivid and livens up the film to a degree. When there isn’t necessarily that much action going on.

Like the film the characters come off as stylish by being a bit off style yet quirky. As they double down on their beliefs and lifestyle. The film seems at time off center but knows where it is going even if the audience doesn’t. So that it is a journey for us. So you have to depend on the film to guide you. Yet you always feels safe though easily distracted and discombobulated.

It can easily be seen as a film about puberty. Where you are a threat to some and you struggle to find where you belong who is your group, pack as well as getting attention you are not used to and it feeling like an onslaught like you are being hunted. Not sure who you can trust as some turn on you that easily or are using you to a degree. Where the wrong move seems like it could be your peril. So that it almost paralyzed you or makes you very fragile.

The film can sometimes feel moody as it stays strange, but still manages to stay sweet and never is boring.

The film Actually feels like an Australian NAPOLEON DYNAMITE. Only from a girls point of view you can see the flourishes of a Wes Anderson film in the design. It’s easy to compare as it seems nostalgic but of it’s own imagination. Though it’s cinematic style seems simple but also expressive and deadpan that at times seems to try too hard but after awhile you get used to it as it becomes too common.

It’s not one of the first or only film to be taken from a girl’s point of view when it deals with a conning of age story. Though it is rare that we get to see a story of so much awkwardness. So much so that the third act is more of a fantasy story.

The film does deal with sex but it doesn’t make it as heavy an issue or something that permeates almost every scene and decision that the character makes. Which is a welcome change. Even if it doesn’t all make sense at first.

The film even has continuing action in the background to keep you your eyes busy and a full experience that keeps you on your toes. That makes everything feel amplified.

Grade: B-

ORANGE COUNTY (2002)

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Directed By: Jake Kasdan 
Written By: Mike White 
 Cinematography By: Greg Gardiner 
Editor: Tara Timpone 

Cast: Colin Hanks, Jack Black, Schuyler Fisk, John Lithgow, Catherin O’Hara, Leslie Mann, Carly Pope, Lily Tomlin, Chevy Chase, Dana Ivey, Brett Harrison, Natasha Melnick, Harold Ramis, Kyle Howard, Mike White, Fran Kranz, Nat Faxon, Monica Keena, Lizzy Caplan

Shaun Brumder is a local surfer kid from Orange County who dreams of going to Stanford to become a writer and to get away from his disfunctional family household. Except Shaun runs into one complication after another starting when his application is rejected after his dim-witted guidance counselor sends the wrong application. So, Shaun goes to great lengths with a little help from his girlfriend Ashley and his drugged-out loser brother Lance to get into Stanford any way they see fit.

Screenwriter, Mike White seems so seething with ideas and quirky characters ready to bust out on screen. You want to follow in further stories and adventures with the characters. So they usually feel like extended pilots for a new series. Maybe it’s his background in television writing. In turn, his television series always seem like set-ups for films. While he is usually a writer-director here he only handles the script.

Jake Kasdan directs the film. He usually is an inspired comedy director. He has a more subdued, subtle dead own style when it comes to style and scripts. with films like ZERO EFFECT, BAD TEACHER and THE TV SET

This feels like a film that is distracted as we see the cavalcade of well-known actors. Half the time the film’s scenes feel like a set-up for a celebrity cameo. Like there are most to the other characters but we only get to see them at their craziest. Trying to make the celebrities more recognizable or introduce them to a younger audience. The film also plays it smart even when stupid.

This film feels like an MTV film while it tries to match its demographic and quirky style for a built-in audience. That leaves the film inspired but also grasping for something. So that it works more times than not, but still doesn’t shine. Maybe because it seems to try too hard.

Jack Black plays well in the film. What a lot of critics have labeled him, as here I found him quite humorous. As the film has a bunch of standout hilarious scenes, Involving him, but though top-billed he is more here as a supporting actor.

The film’s humor is more sold by more minor performances and supporting characters. Rather than the set-up’s

The leads and the director are both children of Hollywood superstars. They more than hold their own though these are ones they could play in their sleep.

This film feels like a minor work not deep at all. It’s mildly amusing. All could do better and have this seems to like them trying to be more mainstream.

Plus the premise of the film is that his writing is so good because of the characters in his stories. Only they aren’t characters as much as real people. So he is just writing his real-life not that creative. Which is what goes against the premise. At least as far as the ending goes. And seems dependent on.

Plus it feels like his decision at the end is supposed to be heartwarming. It more feels deceptive like he needs more material and inspiration.

Through as much as I criticize. I find myself re-watching it from time to time. It has a highly rewatchable quality. The film is short and sweet. It’s a fun time while it lasts, but never comes close to being a classic

I can’t call it a good movie, more of a precious film that doesn’t seem forced. That younger people can look at it like it belongs in a museum. Like our own personal definite gift shop as a souvenir for others to share and see.

It really says you are a good writer. If you can tell the truth and bring it all together to be told vividly for an audience.

GRADE: C+

THE WOLF OF WALL STREET (2013)

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Directed by: Martin Scorsese 
Written By: Terence Winter 
Based on the Book “The Wolf Of Wall Street” By: Jordan Belfort 
Cinematography: Rodrigo Prieto
Editor: Thelma Schoonmaker

Cast: Leonardo DiCaprio, Jonah Hill, Margot Robie, Matthew McConaughey, Jon Bernthal, Kyle Chandler, Rob Reiner, Jon Favreau, Shea Whigham, Jean Dujardin, Joanna Lumley, Cristin Milioti, Aya Cash, Christine Ebersole, Ethan Suplee,  P.J. Byrne, Kenneth Choi, Jake Hoffman, Rizwan Manji, Thomas Middleditch, Fran Lebowitz 

Based on the true story of Jordan Belfort, from his rise to a wealthy stock-broker living the high life to his fall involving crime, corruption and the federal government.

This film at heart is more of a dark comedy than a drama. Yes, it’s based on a true story and there are many victims in this tale who barely get any attention. As the film’s protagonist is the con-man who ripped them off, but the film feels like no matter what it wants us to root for him and feel for him overall.

Leonardo DiCaprio gives one of his best performances and one of his out-and-out funny comedic performances. As we have never seen him this loose and open in a performance. that truly astonishes

 It’s not only him the film is filled with recognizable actors playing real-life people but while they are characters and three-dimensional they are also played so big that they come off naturally more comedic. Even though their crimes hurt many. As Jonah Hill, Matthew McConaughey, and Jon Berenthal all have their times to shine and at least a scene to highlight. 

At a certain point, they are doing so many illegal things that you can barely tell what is right and what is wrong. As the business they build seems to get off on debauchery and the film treats it as both revelatory letting us participate In The mayhem and experience the 1980’s excess but also giving us enough details to see it as a cautionary tale and see the harsh aftermath for some.

This also is Margot Robbie’s debut and introduction to the public as a sex symbol. Just as Charlize Theron made her debut in the movie 2 DAYS IN THE VALLEY. Here at first, you notice Ms. Robbie’s looks then you notice she is actually quite a good actress and one of the memorable ingredients to this movie. 

Now this tale could have been told in a smaller way but just like the main character it must be told larger than life and feel rather epic in size. As it is a rare film where we kind of root for the bad guys. Even if we know they are horrible. As we have been following them from the beginning and in essence living the life of excess with them in the film. So that even when we see them do bad things we have a weakness for them and want to see them succeed even at the expense of others. 

The film feels like a crime spree as it is episodic as we are taken throughout the crimes and how the businessmen stay afloat and the deals they have to make to keep laundering their money and stay on top. The film even follows their international adventures that open up the film to be more global and have more consequences. As they have their overseas adventures. Even with the law on their tails embodied by a character played by Kyle Chandler who seems to be incorruptible and always right behind.

The film even though his character later In The film asks if it is worth it. Being honest and in the straight and narrow. Still having to scrape by when you could easily turn a blind eye, do the wrong thing, and live in Luxury. 

This is the most electrifying and energetic director Martin Scorsese has been with a film. Also, his first film has come close to a comedy since AFTER HOURS. Though the film condemns the characters. The film also has a lot of fun with them. Leaving behind plenty of classic moments. 

The film gets to glorify and highlight the 80’s and 90’s excess and over-the-top nature of business and the stock market. A kind of juvenile version of the movie WALL STREET, but just as powerful and memorable. Only here do you see more behavior outside of the office than necessarily the more business side. Which marks the film all the more attractive. 

In the end, even for a somber tale,  the film is a good time. A misogynistic fantasy that offers what happens after you wake up from the dream and have to pay for it. As the film presents its a tale with the highs like being on drugs but then eventually you have to come down and sober up and the pain of what sobering up feels like. 

GRADE: A