Each Friday at SiftPop.com, we typically challenge our writers to choose what they think is the best movie under a certain topic related to a recent release. But with the momentous release of the iconic Martin Scorsese’s 26th feature film, Killers of the Flower Moon, we’re doing more than just a top 10 — we’re counting down all of his fictional narrative features! Let us know @SiftPop what your ranking is!
Does Martin Scorsese have any purely bad films? Some of them are certainly flawed, and Boxcar Bertha is one of his earlier efforts that doesn’t always come together. But there are aspects that scream “Scorsese” when you watch the early crime thriller. It might not be in the cityscape of New York, but Bertha does capture that danger and crime of Scorsese’s most famous gangster flicks. There is also an aggression and energy that is one of his most iconic trademarks (even at the ripe age of 80). There is also some shocking and poignant religious imagery that comes straight from Scorsese’s Catholic upbringing and his personal wrestling with his faith. Barbara Hershey shines in this powerful and assured performance which would prepare her for later turns in The Natural and The Last Temptation of Christ. Throw in a couple of Carradine brothers, and there is a talented cast to bring this film to life. Boxcar Bertha is a brutal and violent tale of revenge, with a biting and razor-sharp commentary in classism. It may not be Scorsese’s most refined effort,but it’s definitely a cinematic statement. (Shane Conto)
Where did the long illustrious career of legendary filmmaker Martin Scorsese begin? After some rather famous shorts, Scorsese delivered a personal drama in the form of Who’s That Knocking at My Door. This film features a young Harvey Keitel as a man in love, and he is ever-guilty thanks to his upbringing (that Catholic guilt is strong). Keitel delivers quite the impressive early performance as J.R., who meets a young woman portrayed by the incredibly talented and alluring Zina Bethune. Scorsese has always drawn upon his personal experiences, and J.R. certainly embodies his Italian American upbringing, as well as his experiences as a Roman Catholic. This early effort by Scorsese shows plenty of potential, with his energetic direction, sharp dialogue, and complicated dramatic situations. J.R.’s romantic journey is complicated by his lady’s past and his own insecurities. There are so many relatable elements to this layered and complex romance which will certainly keep the audience’s attention (even decades later). Scorsese started off his feature film career with a bang. Make sure to show it some love. (Shane Conto)
Max Cady (Robert De Niro) has just exited prison after a 14-year sentence for rape. He believes his lawyer, Sam Bowden (Nick Nolte), didn’t do a good job, and Cady holds him responsible for his time in prison. Cape Fear a revenge story where the target isn’t the people who had the main character arrested, led the prosecution against them, or sentenced them, but the person who defended them unsuccessfully. Max is the pinnacle of an insane person, focused entirely on revenge for the man he believes has lost him 14 years of his life. De Niro disappears into the role that has a chilling mix of madness and evil to it. For large parts of the story, he doesn’t do much beyond stalk Sam’s family and talk with him about what could happen, but you feel Sam’s fear of what he might do every second Max is on screen. The increasing threat Max poses starts to bring out the worst in Sam. At one point, Max assaults Sam’s daughter, Danielle (Juliette Lewis), causing Sam to have three men beat Max up because he is desperate to stop him. Scorsese’s direction is masterful, with the slow building of suspense in many scenes, and the shocking and creepy moments when Max unexpectedly appears. There’s a claustrophobic feel for the last half hour as Sam’s family starts to feel more trapped. You don’t feel any satisfaction by the end of the ordeal, because you are aware of the trauma the family will continue to think about for years. (John Tillyard)
Gangs of New York, a title that could describe half of Martin Scorsese’s filmography,is the first of his films that I ever saw, and it still holds a special place in my heart. Set in 1860s New York City, amidst turmoil between American Protestant and Irish Catholic gangs, the film focuses on the tenuous relationship between Amsterdam Vallon (Leonardo DiCaprio) and Bill the Butcher (Daniel Day-Lewis), the man who killed his father (Liam Neeson) decades prior. This marked DiCaprio’s first collaboration with Scorsese, and while some of their more recent partnerships have earned more acclaim, the two were off to a strong start in their first pairing. Day-Lewis is unsurprisingly excellent as the antagonistic Bill the Butcher, imposing a powerful sense of control and intimidation over the other characters. Outside of the two leads, there’s a great supporting cast, including Neeson, Jim Broadbent, John C. Reilly, and Brendan Gleeson. The production design and costuming do a lot of work to make the period setting feel authentic, and Scorsese’s direction is as good as ever, resulting in an excellent revenge story highlighting the struggles of Irish immigrants in early New York. (Jake Hjort)
Have you ever wanted to watch a musical directed by Martin Scorsese? If so, you are in luck! He delivered a musical that makes the most sense for him: New York, New York. This is one of the most unbalanced films of Scorsese’s filmography, but it is such an interesting exercise in filmmaking. The crown jewel of the film is the show-stopping rendition of the titular “New York, New York” by the ever-talented Liza Minnelli. Sinatra can eat his heart out with this performance. It might take until the third act to really lean into its musical elements, but the production design, direction, and acting make an impact throughout the entire runtime. Seeing Robert De Niro and Minnelli share the screen is an unlikely yet engrossing experience, as they deliver a complex relationship that Scorsese puts on full display. New York, New York is the most unique project of Scorsese’s — it might not be his strong suit, but it is certainly something worth experiencing… if you can find it. (Shane Conto)
It’s no secret Martin Scorsese excels at creating well-rounded biopics, covering a diverse collection of subjects. He’s interpreted the lives of everyone from gang leaders, stockbrokers, and boxers, to the Dalai Lama and Jesus Christ, but in 2004 he took on the story of his most unique character to date. The Aviator follows the many highs and lows in the early career developments of Howard Hughes. Pairing up for the second time, Leonardo DiCaprio takes on the role of the brilliant yet eccentric aviation pioneer following his experiences in both film and flight. Scorsese’s biopics are not just rich in visual intrigue, but he explores both sides of the individual as well. He never glosses over their shortcomings to paint an edited picture of perfection, but highlights their flaws too, and that’s what makes The Aviator stand out in his collection. While endowed with the gift of creativity and ability to innovate across several disciplines, Hughes was deeply troubled and increasingly preoccupied with illness and the spread of germs as his obsessive-compulsive disorder intensified. This resulted in him becoming more reclusive and paranoid as the years went on, and Scorsese takes us through how this affected both his career trajectory and personal life. If you’ve never taken the chance, it’s time to round out your Scorsese filmography and let The Aviator take flight. (Patrice Downing)
At this point, it’s no secret that a main theme of the entirety of Martin Scorsese’s career is faith and religion. Usually, he tackles Christianity, but in 1997’s Kundun, he explores Buddhism and the Dalai Lama. While not quite as compelling as some of Scorsese’s other films on similar topics, Kundun explores the almost necessary collision of religion, faith, government, and morality, all through the lens of someone who’s supposed to be the best of each one. It’s an interesting angle to take, and even though it’s not the religion that Scorsese has held dear for much of his life, he still delves into the subject with curiosity and empathy. (Robert Bouffard)
It’s not often talked about, but in the all-time movie year of 1999, one of the most iconic directors of all time, Martin Scorsese, teamed up with one of the most iconic actors of all time, Nicolas Cage, for a fever dream set over the course of three days in New York City: Bringing Out the Dead. Following Frank (Cage), the movie shows his exploits as an ambulance paramedic as he comes across people who need help, but don’t want it, or vice versa, and it increasingly gets to Frank emotionally and psychologically. This film is co-written by Paul Schrader and is directed by Scorsese, so of course it’s littered with religious subtext. It’s handled with so much care by Scorsese, and performed with so much honesty by Cage that it’s impossible to not be transfixed by its ideas and atmosphere. (Robert Bouffard)
Yes, the “other” De Niro and Pesci mob flick directed by Martin Scorsese in the ‘90s. Casino follows a pair of mobsters, played by Robert De Niro and Joe Pesci, who go out to Vegas to make their mark in the lucrative gambling scene. The pair have their bond tested by Sin City and the arrival of Sharon Stone’s Ginger. Though I think the perception of Casino can be a bit pejorative, as “just” Goodfellas’ not-quite-as-good cousin, this gangster epic has plenty going for it in its own right. It earned an Oscar nod and sits in the IMDb Top 250 (at 139). Scorsese’s masterful behind the camera, and our trio of leads are all fantastic. We already knew de Niro and Pesci were great together, but Stone more than holds her own here. Stone’s career at times can sometimes just get reduced down to her role in Basic Instinct, but going toe-to-toe with De Niro and Pesci is no small feat. If you’ve shrugged this Vegas epic off as Goodfellas light, give it a shot. (Jake Bourgeois)
Sandwiched after Goodfellas and Cape Fear and just before Casino, The Age of Innocence certainly stands out as different in Martin Scorsese’s chronological releases. An adaptation of Edith Wharton’s book of the same title, the film chronicles Newland Archer’s (Daniel Day-Lewis) romance with a woman estranged from her European husband (Michelle Pfeiffer) while engaged to her cousin (Winona Ryder) in the high society of 1870s New York. A Gilded Age love story in the strictest sense of the word, Scorsese captures the elegance of the aristocratic setting, all while navigating the viewer through a world where appearances can be even more important than reality. Besides our three leads, it’s littered with recognizable character actors, like Richard E. Grant, Miriam Margolyes, Jonathan Pryce, and Robert Sean Leonard. It’s a change of pace for Scorsese, one that hasn’t been repeated prior or since, and for that reason alone is an intriguing project. (Jake Bourgeois)
A unique entry in Martin Scorsese’s directorial filmography, The Color of Money is a sequel — the only one he’s directed to this point. It sees the return of Paul Newman’s “Fast” Eddie Felson, introduced in Robert Rossen’s The Hustler, as he returns to the pool game by taking on a pupil in Vincent (Tom Cruise). Teaching him the tricks of the trade, the duo eventually has a falling out, leading to Eddie picking up his cue again, and eventually crossing Vincent as an opponent. Though legacy sequels are nothing new to audiences now, there’s something to be said for how perfectly Newman’s Felson seems like a continuation of the character. Directorially, Scorsese’s flair really shines. It’s not just the addition of color that spices up this sequel — the way the pool scenes are shot has a real kinetic feel that makes this a blast to watch. (Jake Bourgeois)
“Which would be worse, to live as a monster or to die as a good man?” I don’t remember watching a movie, thinking you have it all figured out (you can see the twist coming), and then realizing that wasn’t what the movie was about. Where the last sentence gives you a whole new appreciation for the complex characters and changes the movie so much, your second viewing will be even better. Shutter Islandis that movie. I watched it in the cinema when it came out, and loved it and rewatched it a couple of years ago, and I still love it. Scorsese flexes his muscles by telling us this complex story about men, monsters, and regrets, shoots it beautifully, and shows us if he ever decided to shoot a straight-up horror film, we would be in for a treat, as Shutter Island is as close to a horror we will probably ever get from Marty. And maybe that is another reason I loved it — it’s such a dark departure for this filmmaking legend, but it still has that “Scorsese” feeling you get with most of his films, where every shot matters. Also, and this should go without saying, both Leonardo DiCaprio and Mark Ruffalo are awesome in their roles.(Luke Burian)
I vividly remember sitting in my apartment and calling my dad one weekend in late 2019 to talk to him about my week. I had just seen Scorsese’s The Irishman, and I told him about it. Shockingly, my dad told me he’d watched it that weekend. He’d raised me on ‘80s action and basketball movies, so the fact that he was willing to sit and watch this American odyssey from Scorsese speaks to its quality. Loaded to the brim with legendary talent like Robert De Niro, Al Pacino, and Joe Pesci, we are in steady hands in front of the camera. Scorsese masterfully shows how to tell a decades-long story by gliding us the life of Frank Sheeran. I hope to one day sit and down watch it with my dad. (Sam Nichols)
Every great filmmaker has that one movie where they’re announced as a talent to be reckoned with. Although Mean Streets isn’t his first movie, this is the one that signaled Martin Scorsese’s arrival as a juggernaut in entertainment. With beautiful craftsmanship and a devastating story, Mean Streets helps set the tone for what Scorsese would become in the future. Italso started the collaboration and relationship that Robert De Niro and Scorsese would have to this day, 50 years later.The significance of Mean Streets can’t be overstated, as it’s still very influential and is referenced as an inspiration for a number of actors and directors. For me, Mean Streets was a movie that I wasn’t expecting to be as good as it was, and it just sticks with you long after it’s over. (Mike Hilty)
Martin Scorsese’s The Wolf of Wall Street is one of the most influential modern films in pop culture. It’s based on the real-life Jordan Belfort: a cunning Wall Street trader driven by sex, drugs, and money. But, Jordan (Leonardo DiCaprio) wasn’t always that way. He started out as a green stockbroker who lost his job after the Black Monday market crash. Jordan lands a job at a boiler room brokerage, where he excels at swindling people into buying penny stocks. This inspires him to start his own brokerage with his neighbor, Donnie Azoff (Jonah Hill). Stratton Oakmont operates by scamming the rich to make Jordan and his employees richer. And for a while, it works. He moves into an New York City penthouse, marries his new trophy wife, Naomi Lapaglia (Margot Robbie), and even buys a yacht. But all the money, booze, drugs, and women aren’t enough for Jordan. His greed starts to catch up with him once the federal government notices his success. DiCaprio delivers one of his greatest performances as Jordan. He’s cunning and unlikable, yet somehow charming. Robbie completely nails the Brooklyn stereotype in Naomi. Her New York accent is flawless, even though she’s a native Australian. The Wolf of Wall Street may have a 180-minute runtime, but the action, drama, and dark humor make it go by in a flash. It’s a classic that’ll remain an important part of culture for years to come. (Diana Gebbia)
Not all boxing movies are the same; however, two of them should be held up as the pinnacle of what a film about the sport should be. Raging Bull sets the standard for boxing films (along with Rocky) with a deeply personal look at Jake La Motta’s (Robert De Niro) rise and fall in the ring. It’s an achievement technically, especially the boxing matches, and features a career best performance from De Niro. That within itself is a huge compliment for a legendary career filled with outstanding performances, and a one-of-a-kind relationship with one of the all-time great directors. Martin Scorsese set a new standard for himself, and he’s been chasing the prestige from Raging Bull ever since. (Mike Hilty)
Martin Scorsese’s love letter to cinema, Hugo, follows the titular orphaned youth (Asa Butterfield) as the clock winder in a Parisian train station. As with most Scorsese projects, this cast is stacked with a ton of familiar faces doing what is required of them — no matter how substantial their role. Joining Butterfield are Chloë Grace Moretz, Sir Christopher Lee, Sir Ben Kinglsey, Sacha Baron Cohen, and Jude Law, to name just a few familiar names. It’s a unique entry in Scorsese’s filmography, but it beautifully allows him to explore his passion for cinema through a young boy’s search for answers after the death of his father, and his subsequent connection to a crotchety shopkeeper (Kingsley). This is my favorite of Scorsese’s filmography. Though perhaps not as groundbreaking or influential as some of his other works, there’s something about the magic the story creates with its mix of storytelling, visuals, and music by Howard Shore that just sweeps me up every time. (Jake Bourgeois)
Released between mega-hits like Taxi Driver, Raging Bull, and Goodfellas, it is understandable why Martin Scorsese’s The King of Comedy fell through the cracks for so many years. Viewed as a light disappointment upon release, it has followed the trend of many a Scorsese picture — cinephiles of the Letterboxd era have since reclaimed the film as an underappreciated masterpiece. Robert De Niro delivers an all-time great performance as Rupert Pupkin (incredible name, by the way), a wannabe comedian whose desire to make it big evolves into a deeply unhealthy obsession. Delightfully cringe-inducing, The King of Comedy is a darkly funny commentary on celebrity, fame, and obsession that has just as much relevance today as it did in 1982. If this film has passed you by, thankfully you still have time to rectify that mistake, because The King of Comedy is secretly one of Scorsese’s best. (Foster Harlfinger)
Martin Scorsese doing a romance and a story about a single mother? That might sound weird… but let’s just say Alice Doesn’t Live Here Anymore is not your standard turn. From the opening moments of Scorsese’s hilarious sendup of classic sitcoms with a techno color farm scene filled with quite the colorful language, he sets the tone that this is Scorsese, but with a fresh story. After the brutal and bloody death of her husband, Alice Hyatt (Ellen Burstyn) goes across the country to find a new life for her and her son, Tommy (Alfred Lutter). Burstyn shows why she is one of the greatest actresses to step in front of a camera, as she delivers a layered, vulnerable, empathetic, and powerful turn as our titular heroine who desperately tries to connect with her son. She goes through different jobs (with a nice musical number along the way), and suitors (including Scorsese’s original muse, Harvey Keitel, as quite a despicable man). But it is a small town in Arizona where she finds a job that she has roots in, a man to invest in (Kris Kristofferson, who shows that he is more than just a famous country music performer and creator), and a friend for Tommy (Jodie Foster in a pre-Taxi Driver role). This might be a different type of film for Scorsese, but it is an unsung effort from his early years in the 1970s. (Shane Conto)
I grew up on Christian movies. Garbage that made me long for the infomercial channel after 2 a.m. It was all I could watch on Sundays, and these movies never challenged my faith. Silence did. Silence is like a beautiful meal from the greatest restaurant in the world compared to a crushed up, half-thawed, expired Lunchable. Martin Scorsese wants to ask if you really believe in a higher power, and if the people you’re serving even know what you are ministering to them about. Are you even capable of crossing the language and cultural barrier to explain? Is God even speaking to you, or is it just what you want to hear? Scorsese is perhaps the only director who could ask these questions. Stars like Adam Driver, Andrew Garfield, and Liam Neeson are perfectly directed, and perform exceptionally, too. The ancient Japanese setting is incredible as well, and I need to see more of the films centered around this time. But, bravo, Mr. Scorsese. Bravo. (Sam Nichols)
As far back as I can remember, I always wanted to be a writer for the BEC. Even before I first emailed SiftPop for a contributing writing spot, I knew I wanted to be a part of them. It was there that I knew that I belonged. To me, it meant being positive about film on an internet that was full of negativity. They weren’t like anybody else. I mean, they did whatever they wanted. They posted movie reviews, hosted podcasts, even a weekly blurb about movies, the best in their field. Like Martin Scorsese’s Goodfellas. Staring Ray Liotta, Robert De Niro, and Joe Pesci, Goodfellas is a tale of gangsters in a world of crime, and the slow descent that they all inevitably travel down. The argument that this movie glorifies the mob is a valid one; however, I feel like the people on that side of the fence weren’t paying attention to the back half of the film. It shows you that with all good things come consequences and a life that may start out great, but ultimately will end. Whether that be abruptly to the back of the head, or in misery with nobody who cares about you. Getting to write about Goodfellas for SiftPop made me feel like I had it all. One day, some writers from another online movie site carried my mother’s groceries all the way home for her. It was out of respect. (Nick Ferro)
Martin Scorsese’s movies are known, among many other things, for their flashiness — Goodfellas, The Wolf of Wall Street, The Departed — and ambition — Silence, The Last Temptation of Christ, The Age of Innocence. But a couple of times, he’s pared everything way down to focus on character more than anything else. That’s what After Hours is, and if it isn’t one of Scorsese’s most kinetic and entertaining movies. At just 97 minutes, it fits in so many vignettes in Paul’s (Griffin Dunne) journey to find a girl he met at a coffee shop in the middle of the night in 1980s New York City. It could be called a black comedy, but I think After Hours is as mainstream in his comedic sensibilities that Scorsese has gotten, but of course he presents it with his own flair… (Robert Bouffard)
Crime movies seem to be Martin Scorsese’s bread and butter. One of my favorites is The Departed. The movie follows Billy (Leonardo DiCaprio), a young cop in Boston looking to make his bones taking down the Irish mob, run by Frank (Jack Nicholson). On his tail is mob informant and detective, Colin (Matt Damon), in this convoluted story that keeps you engaged until the very end. With a stacked cast giving their all, it’s no wonder this movie is so memorable. I haven’t seen many of Scorsese’s movies, but he can obviously bring the best out of his actors. The Departed has a story that needed to be told. (Austen Terry)
The Last Temptation of Christ might be one of Martin Scorsese’s most challenging movies. Its controversy is well-known — not just for the book that preceded it, but for the movie as well. The depiction of Jesus (Willem Dafoe), and all the doubts he experienced about carrying out God’s plan for him to be sacrificed, is a tall ask for some. To think that Jesus had desires is also a tough thought for some. But if there was someone who I’d trust to explore these topics, and who could handle a beautifully made film with outstanding performances and a strong message about how steadfast Jesus was despite temptations for a normal life, it’s Scorsese. (Mike Hilty)
One of the many collaborations between Robert De Niro and Martin Scorsese, Taxi Driver dives into the world of a man who tries to find an escape in life, and continues to spiral as the film progresses. It’s well shot, has an interesting setting around urban decay, and features one of the most iconic — if not the most — iconic monologues in film, with Robert De Niro’s famous “You talking to me?” line. To say this one belongs on a must-watch list is an understatement. (Joseph Davis)