There’s been a few controversies surrounding this film in the media since its release, a little over a week ago. Controversies that range in significance and utter bewilderment, regarding the film’s source material, its author, anti-hero, and inspiration Jordan Belfort, to the film itself “The Wolf of Wall Street” being attacked by critics, labeled as shallow drivel glamorizing a life of criminality and abuse. Now, I can’t comment on behalf of the novel, as I’ve never read it (although I plan to), or defend Mr. Belfort as I have never met him, picked his brain, or researched his life (I must say however, it is very intriguing). That being said, there is one thing clouding my brain that I can shed some light on, debate and hopefully resolve. Something that’s distorting my thoughts with its incoherent, simple, overwhelming stupidity. And that is the irrational, baseless notion that “The Wolf of Wall Street” idealizes and absolves an existence free of morality, accountability, and stable relationships.
I’m perfectly content to dismiss this critical negativity and deem it as idiotic complaints that pander to the obviousness and cosmetic, depthless aspects of a film that uses these highly-superficial, vivid visuals intentionally to mask, bury the truth of these distractions from the emotionally and intelligently inept. I’m fine in doing that and moving on. I form my own opinions, not base them on the unfulfilled experiences and half-witted conclusions of others. Nonetheless, I don’t think it’s fair that those who have yet to see the film or those that are looking for more from “The Wolf of Wall Street” should be bombarded by the opinions of those who only have a disdain towards it. I created this site to voice my thoughts, to interact with others, and to educate and be educated, so that’s exactly what I intend to do…
This adaption of Jordan Belfort’s miraculous, unbelievable tale is directed by the illustrious Martin Scorsese and stars Leonardo DiCaprio as the lead character, the aforementioned Jordan Belfort. Containing an excessive amount of nudity, sex, drugs, alcohol, vulgar language, deplorable behaviour, violence, and illegal activity. “The Wolf of Wall Street” is quite the unique cinematic experience, a difficult one to stomach and endure at that. Clocking in at a trying two-hours and fifty-nine minutes, one might argue that it’s near impossible to match the celebratory nature and complete disregard for compassion and equality with vulnerability, depression, and regret for the film’s entirety. To that I say this… After roughly the thirty-minute mark, there wasn’t a moment that went by in which I didn’t ponder the stability, endurance, and humanity of our protagonist that was on display. “What about the first half-hour, you ask?” Well, it’s very simple, our lead was a decent human being for that duration.
One might look at what he does, listen to what he says and brand his actions and reactions as gutless, inhumane, selfish, and heartless…While this is undeniably true, the way in which it’s portrayed, you know, how the light shines upon it has beencompletely misconstrued. Through every abhorrent movement and despicable word of DiCaprio’s Belfort, there is this nagging, disheartening hint of encompassing sadness and loneliness that radiates through the brash chaos. This is not a happy man, and anyone who arrives at any conclusion that contradicts this, his overall demeanour, has misunderstood.
Listen, it’s totally reasonable to connect Belfort’s outward appearance and emotional surface with happiness, a man who is pleased with himself and the choices he’s made. Hell, even the film’s ending seemingly coincides with this ideal. Conversely however, I implore you to see that there is nothing content about this man. He has lost his family, his privacy, his decency, and himself. DiCaprio’s Belfort has been misconstructed from the get go and every drunken stupor, drug-induced numbness, and orgy coma is an attempt to distract…draw his glazed eyes away from his creeping fears that became a reality all too soon. In the end, like us, he is alone, no matter how high he lived each moment. There will be a time after the present, everything becomes the past. DiCaprio’s Belfort has mistaken living for life and love. I don’t believe for one second that, apart from the time he spent with his lover and children, he was happy.
Well, that’s enough dissection of this taut character study, on to the technical aspects! Directed by the aforementioned Martin Scorsese, “The Wolf of Wall Street” is a welcomed return to criminal-empire filmmaking for the talented vet. Depicting the life of Jordan Belfort, a kind-hearted family man who gets caught up in the world of Wall Street. Earning a job at a successful firm and passing the Series 7, Belfort is informed by his then boss to adopt a lifestyle of drugs, alcohol, and sexual release to remain atop of the game. Then, having lost his stable job due to Black Monday, Belfort soon starts his own firm, hiring his friends and selling flimsy stocks. Soon, the company is a multi-billion dollar success, with a long list of criminal offences, laundering, fraud, and tampering being a few. Funding lavish parties for his staff, consisting of drugs, alcohol, prostitutes, and obscure events, things begin to spiral out of control. Having divorced his wife, remarried, and becoming a father, Belfort soon begins to crumble under everything.
It may be misogynistic, abusive, excessive, vulgar, and dirty, but there’s no denying that “The Wolf of Wall Street” is the most entertaining film to come around in a good, long while. Scorsese captures the world of Belfort’s Wall Street in his usual, immaculate form. Feeling like a throwback to Marty’s “Goodfellas,” his use of entrancing visuals, unfathomable character depth, and intoxicating music allows him to achieve feats that no other film has this year. Martin embraces the violent language, sexuality, and craziness of his film’s premise superlatively. It’s not long until you’ve completely forgotten the fictitious feel of everything and simply become another stockbroker at Stratton Oakmont. Very rarely does one notice the handiwork of a director, but with “The Wolf of Wall Street,” it’s impossible not to marvel at Scorsese’s impeccable form. In all fairness, Martin hasn’t been this good since “The Departed” in 2006.
I’ve mentioned in great depth the brilliance of Leonardo DiCaprio’s performance in “The Wolf of Wall Street” earlier, clamouring over his deliciously heartbreaking and charismatic Jordan Belfort. However, there is more character perfection here besides Leo’s larger-than-life portrayal. Matthew McConaughey, Jonah hill, Margot Robbie, Joe Bernthal, Kyle Chandler, and Jean Dujardin also star in “The Wolf of Wall Street” and their contributions cannot be overlooked. But before we move onto them, I have one final thing to say about Leonardo. This is the year he finally earns that Oscar, or at least, he damn well better. I mean, this guy has been passed over too many times. Is this the performance of his career? Well, that’s up for debate. That being said, is his take on Jordan Belfort the best performance of the year? Hands down! Open the “best actor” envelope blindfolded, because this award is all but official.
Okay, let’s get this out of the way. Matthew McConaughey won’t be winning any awards or nominations for his performance in “The Wolf of Wall Street.” Besides, with “Mud” and “Dallas Buyers Club,” he’s got more than enough material to earn a ton of accolades this award season. That being said, McConaughey continues his ascent to the top with another memorable, hilarious, potent performance here. Who can forget him beating his chest in the middle of a restaurant, making weird noises, and talking about sex, drugs, alcohol, and money? If Jonah Hill should be nominated for “best supporting actor” because of his character in “The Wolf of Wall Street,” you won’t here me complaining. He’s awkward, both personality and appearance wise, down-right hilarious, and dramatically effective as always. Might not be as worthy as his “Moneyball” performance, but it’s certainly one of the best this year.
Kyle Chandler never seems to get the recognition he deserves and it’s starting to really tick me off. Countless films this man has appeared in and has given tremendous performances in each of them. At least Scorsese took notice of this man’s talent and gave him a fairly significant role. Jean Dujardin, who you’ll know as the Oscar-winning actor for his performance in “The Artist,” is used sparsely, but uses each moment to excruciating effectiveness. Whether it’s his invincible mindset or untouchable attitude, Dujardin will make you laugh while you simultaneously beg those around to let you punch him in the face. Jon Bernthal, or Shane from “The Walking Dead,” continues to make a career for himself post zombie apocalypse. His appearance, personality, demeanour, and narcissism will leave you gasping for breaths between laughs.
Lastly, my favourite female performer of 2013, up-and-comer Margot Robbie. She’s got the “supporting actress” award all wrapped up in my books. I would like to inform her to start clearing off shelf space or at least get someone, perhaps myself, to build her a case for it. She’s sexy, poignant, ruthless, funny, and seductive as Leo’s ambitious, take-no-shit trophy wife. There has not been a better performance by a female this year. I know that in reality she’ll be lucky to receive a nomination at the very least, but in all honesty, there’s no denying her charm, talent, and beauty here.
Well, here we are, 2013 is now officially over. So I thought it fitting to present you with my favourite film of the year, so here it is. “The Wolf of Wall Street” takes the cake for me and I’m sure it’ll win a few of you over as well.
The Wolf of Wall Street: 10 out of 10.
Following up Gone Baby Gone and The Town, Ben Affleck’s Argo was released with seemingly insurmountable expectations. But the dark, satirical humour, unbearable tension, and outstanding performances by its entire cast is what separated Argo from a pack of dramatized history films in 2012. Argo further cements Ben Affleck as a force both on and off camera. A political thriller that had some tough competition in 2012, all heavily based on historic significance. However, despite this disadvantage, Argo was able to walk away with top honours at the Oscars. Featuring Ben Affleck, Bryan Cranston, John Goodman, Alan Arkin, and a slew of supporting stars, Argo is sound from top to bottom. The retro look and immersive story make Argo glow and full of intensity.
The American embassy in Iran was invaded and lost to Iranian revolutionaries in 1979. Numerous Americans were taken hostage. However, during the carnage and chaos, six managed to escape. The six Americans took refuge at the Canadian Ambassador’s house and stayed, waiting for the CIA to work out a way to bring them home. Tony Mendez (Affleck) with the help of Lester (Arkin) and John (Goodman), devised a plan to extract the six using a fake movie as a cover. The six Americans were to be various crew members and producers from Canada on a location scout. With the revolutionaries slowly beginning to realize Americans missing and the White House getting cold feet, time begins to run out.
Depending more on the source material than making it appeasing. Argo is rewarded for staying true to the past, investing in the audiences tolerance, and choosing intelligence over appearance. In the lead role, Ben Affleck’s work ethic and exterior are impenetrable, exactly what they should be. You’d want someone calm and composed holding your life in their hands. Affleck is immovable and should have earned an Oscar nomination for his performance. Cranston and Goodman are equally as impressive in their supporting roles, but are an afterthought to Arkin’s Oscar nominated performance. With its strong cast and durable, yet entrancing script. Argo is proof that quality over quantity is the best policy, deservedly winning best picture.
Argo: 9 out of 10.
A much more passionate labyrinth and overall refined offering than The Hurt Locker. Director Kathryn Bigelow and writer Mark Boal once again delve into the war overseas with Zero Dark Thirty and bring a fact driven theatrical adaptation of the most elaborate manhunt in history to the screen. Using familiar tactics such as tense situations and loveable characters, Boal and Bigelow triumph once again with Zero Dark Thirty. However, setting aside the similarities in the strain and showiness between The Hurt Locker and Zero Dark Thirty. Bigelow and Boal insert new facets like intellect and balance to make Zero Dark Thirty more effective, complete and full of intensity. Featuring Jessica Chastain, Jason Clarke, Mark Strong, Kyle Chandler, Joel Edgerton, and Chris Pratt. Zero Dark Thirty’s all star cast are layered throughout its multiple story lines and given enough purpose to fulfill their potential.
A CIA operative named Maya (Chastian) is thrust into the war on terror. One of her first experiences is the extraction of information through any means necessary, understanding that this is the extreme needed at times to gain knowledge. Working with her partner Dan (Clarke), Maya quickly learns and adapts to life overseas. Over seven years, Maya is narrowing down her leads in hopes of finding Al-Qaeda leader Osama Bin Laden. With the help of Joseph (Chandler), George (Strong), and numerous other, in 2011, her tireless efforts are about to pay off. Staying in contact with Patrick (Edgerton), Justin (Pratt), and the Navy team. Maya observes the mission to the suspects home.
While the depth of the material Zero Dark Thirty is based upon is somewhat of a blur to the public eye. The surface of it has been broadcast from a far on every news channel since 9/11. Being able to produce such a definitive and enjoyable piece of cinema from an overseen and collated event years in the making is something Boal, Bigelow, and crew should be proud of. Jessica Chastain is the only actor to earn an Oscar Nomination for her performance in the film and deservedly so, she is incredibly pragmatic. Her natural essence and unrelenting drive fit perfectly into her role. Jason Clarke should have garnered more praise and a nomination in his supporting role to Chastain but was snubbed in my opinion. Clarke is intimidating and ruthless encompassing everything needed to be emotionless and feared. The rest of the supporting cast is equally as impressive, holding nothing back. Zero Dark Thirty is a smart, entertaining nail biter.
Zero Dark Thirty: 9 out of 10.