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“... but the film depicts him as … er … a criminal. In many ways The Wolf of Wall Street replays Scorsese’s Goodfellas. There is a voice-over narration – some of it brilliantly mixed into the present moment, so that DiCaprio is telling the story in an impossible tense, a now that is already a then – and at one point he verbally echoes a famous line ...”

“... round him and pauses in the air close to his face – too close for any plausible human view. Martin Scorsese – this is the opening scene of his new film The Irishman – likes this kind of shot. At the beginning of The Age of Innocence (1993) the camera zooms slowly in to the face of a singer on stage at the opera. We see wrinkles, make-up, the ...”

“... how the story goes. The real point of the crown is that your psychosis has the world to itself. Martin Scorsese’s Goodfellas (1990) opens with three gangsters on the road and a noise coming from the boot of the car. There is a corpse there who is not quite dead. The two older gangsters (Robert De Niro and Joe Pesci) take care of this problem, and the ...”

“... an American cinema at the opposite pole from Disney’s – like another namesake, Travis Bickle, Martin Scorsese’s vigilante and Taxi Driver of 1975. The contrast between the characters is representative of the respective timbres of the directors’ work. Scorsese’s Travis takes out his frustration bloodily, on ...”

“... into a motion picture, and to read in a very imperious manner. How’s this for a point about Martin Scorsese and the absence of family life in Raging Bull and Taxi Driver? ‘The only family in Taxi Driver is Iris’s (strictly off-screen and marginal); neither Jimmy Doyle nor Francine Evans appear to have any parents; Jake LaMotta’s are mentioned ...”

“... out yourselves from the Curzon and other cinemas, where it is now showing in a restored print. Martin Scorsese, a great admirer of the film, says it is about the ‘madness of making movies’, a view not entirely at odds with all the disgust, just more interested in comparative madness. The film itself looks alternately stiff and stylish. People ...”

“... Nothing in Martin Scorsese’s film is quite as good as its first 15 minutes, but those 15 minutes are astonishing. You feel the movies are being invented; or at the very least that Scorsese has rediscovered a medium that has been lost since The Magnificent Ambersons. The camera pries and pulls back, sweeps and turns, picks up faces and gestures and furniture, putting itself (and us) in impossible situations ...”

“... to take this into account. We also talked about GoodFellas. ‘My friend Marty’ is the director Martin Scorsese, who had produced The Grifters. His fine film GoodFellas had just opened, and Donnie Brasco strayed into its territory. We had missed each other in New York and Los Angeles, but eventually met at Michael Powell’s memorial service. (He said ...”

“... her battle cry and rushed biting and clawing into the midst of a mass of opposing gangsters’. Martin Scorsese’s Little Italy childhood was spent a short distance from the no-longer Points, and though the stories in Asbury’s book started a thirty-year obsession to transform The Gangs of New York into Gangs of New York, what made it to the screen ...”

“... fear and voyeurism that keeps us sitting in the darkened cinema. In homage to Powell’s cameo, Martin Scorsese cast himself in a scene in Taxi Driver, playing a voyeur spying on his adulterous wife from Travis Bickle’s cab. ‘You see the woman in the window? Good. I want you to see that woman ’cause that’s my wife. But that’s not my apartment ...”

“... to take your pains and blemishes away. You dream of healing and you leave lots of money behind. Scorsese’s Casino is full of shots of money in close-up, in its solid, countable form, thousands of coins, thousands of bills, swilling through slot-machines and off gaming-tables into a tiny armoured back room. Also into the pockets of the people counting ...”

“... can be levelled at the endless and wrongheaded Killers of the Flower Moon, the ultimate proof that Martin Scorsese is given such licence to do anything that it no longer matters what he does. His once unique urgency has become a red carpet of solemnity. So it seems a wilful blindness to decide that Oppenheimer is Best Picture when that verdict means ...”

“... of other artists he appeals. Surely the only thing in common between Samuel Beckett, Miles Davis, Martin Scorsese, Philip Larkin, Frank O’Hara, Bob Marley, would be their shared interest in his music. His songs have been more widely covered by other musicians, ranging from Frank Sinatra to Jimi Hendrix, from Olivia Newton-John to the Waterboys, than ...”

“... than ‘outrageous’ (the blurb’s word), will fill us with a gloom like that discerned by Martin Scorsese in the worn features of the aging funnyman played by Jerry Lewis in his splendid recent film King of Comedy. The stories in Italo Calvino’s Marcovaldo (1963), a collection of 20 urban fables occupying a point in his work midway between the ...”

“... cheering ‘God Bless the King!’ It’s no surprise that The Wager is being made into a film by Martin Scorsese: it already reads like one (Killers of the Flower Moon is based on an earlier book by Grann).These impressive effects rely on some writerly liberties. The demands of the book’s narrative structure result in continual small rearrangements of ...”