Scorsese has directed many a cinematic winner. But, with the exception of 2016’s “Silence” (which I found to be brilliant on so many levels) it had been a while since the accolades of brilliance could be applied to this filmmaker.

Make no mistake, it is rare when he fumbles, and most of his films have found their way unto my Ten Best lists of their respective years. But over the last decade

I’m always skeptical when a film receives too much hype. With the on-again, off-again quality of American fare, I try not to set my hopes too high, especially when it comes to a film about the D.C. Comics's The Joker, by the director of “The Hangover” series.

It is with great pleasure that I report that, while the film itself isn’t the cinematic masterpiece that some have christened it, Todd Phillips’s “Joker” is one of the finest films of 2019 with Joaquin Phoenix delivering one of the great performances of modern cinema, and definitely his personal best.

The last Tribeca Film Festival finished on a high note as Robert De Niro and Martin Scorsese screened “King of Comedy” marking the thirtieth anniversary of the film’s release. With its knife-sharp commentary on celebrity and the vagaries of fandom "King of Comedy" not only still holds up thirty years later but is just as relevant today as it was then. In “King” stage-door autograph hound and aspiring comedian

Limitless begins with Bradley Cooper contemplating a leap from the penthouse of a high-rise apartment building. Based on previous experience, I might have considered this the perfect beginning to a movie. Fortunately, Cooper sticks around and proves me wrong. Too often he has fallen too easily in relying on Adonis DNA and hanging out in the heartthrob category. Here, he’s an inviting lift to Burger’s trippy direction and script (no one speaks that way, but everyone wishes they could speak that way).

By ALI NADERZAD – January 7, 2011 As a longtime […]

The real reason—perhaps the only reason—to watch Righteous Kill is […]