is this bait? She's the Native character with the least screentime in the trailer.
I mean yeah, you're not wrong that it's likely just white guilt, but there's an entire tribe of mongoloids played by "actors" who live off of casino royalties.
So? She's far from the only native character (unfortunately) and has the least to do in the trailer. She's just there to spurn Leo's character into action.
Osages bought their reservation land from the Cherokees after squatters overran their gibs rez in Kansas.
They paid cash, which they had made from leasing grazing land to the cattle drives heading to Kansas City.
The popular books, and subsequent tv series Little House on the Prairie is based on the story of one of those rez squatters.
Since the Osage paid cash for their land they technically still held title to their land when the U.S. Gov arbitrarily decided it could quit any Indian treaty. Primarily, they still held the mineral rights.
Next came the oil boom.
>A bad Leo performance isn’t enough to stop Scorsese though. Some of these compositions are breathtaking: a line of men running around a ring of fire obscured by a fogged glass window, the darkly lit tableau when Leo meets with Fraser & co., the deathbed vision, etc. But I can’t grasp why he’s structured this with the signature Goodfellas storytelling: constant montage, short scenes at rapid pace, tongue-in-cheek cutaways. The whole film feels strangely distant from the actual violence. Whereas The Irishman makes a jarring turn into something slow and elegiac, this is too speedy and propulsive for its own good. It even ends with a cheeky riff on a standard “based on a true story”-movie postscript, including a final note of meta-winking (clearly intended as a sincere gesture). I thought Silence and Irishman were among his best work: vivid and disarmingly personal. This one feels a bit mangled by rewrites and re-edits, lacking a singular vision, little cumulative bite, and retreading old ground. The worst thing about Scorsese's direction here is it's sometimes more self-imitational than self-confrontational: a major distinction from the best works of his late-period.
I've said it before but Leo is only good with a good director and a screenplay that has him playing a character that takes advantage of his natural insecurities. Watch him in interviews; he tries so hard to sound well read and smarter than he is because you can tell he is constantly fighting against the image of himself as just a pretty face/heartthrob. Savvy directors can at times capture this aspect of his personality from the right angle a la Costigan in the Departed, or Belfort in Wolf of Wall Street. You could argue Tarantino got this in Once Upon A Time in Hollywood but that was definitely the most obvious approach to getting a good performance out of Leo. Regardless, he has no original thoughts of his own, a total muppet creatively. He'll never be a great director or writer or autuer even though thats clearly what he wishes he was. I think Marty's really wore Leo and himself out though. I couldn't give a shit about this flick. It's so uninspiring tha Marty won't take a real risk anymore either.
I love Marty, but Gangs of New York signaled a change in his work. I don't think DiCaprio was right for him in the long run. Silence, though, was pretty damn great. Bringing Out the Dead, to me, is the last of his work I went crazy over.
That is the correct take. Just look at his filmography post Bringing Out the Dead >Gangs of New York >The Aviator >The Departed >Stutter Island >Hugo >Wolf of Wall Street >Silence >The Irishman >Killers of the Flower Coom
7 months ago
Anonymous
All Kino
7 months ago
Anonymous
It's an even split of good (Gangs of New York, The Departed, Wolf of Wall Street, and Silence) and bad (Aviator, Shutter Island, Hugo, and The Irishman)
Yeah, this won't make any money. Movies that are supposed to be sure-in tentpoles flop and are immediately sent to streaming. Scorsese should wake the frick up and realize no one cares anymore about what shit he's made. The times have changed.
Only native character is Leo's wife. Dead giveaway it's not a native perspective just white guilt trash
is this bait? She's the Native character with the least screentime in the trailer.
I mean yeah, you're not wrong that it's likely just white guilt, but there's an entire tribe of mongoloids played by "actors" who live off of casino royalties.
>is this bait? She's the Native character with the least screentime in the trailer.
She's on the fricking poster, dude
So? She's far from the only native character (unfortunately) and has the least to do in the trailer. She's just there to spurn Leo's character into action.
She's as ugly as a modern day video game lead
It's about a guy who killed like 60 Indians in order to get ahold of rights to oil on their land. I think DeNiro plays him.
Like how the Revenant gave him a half native son to give him the racism angle when the real guy didn't have a son kek
Really? IDK that. Pathetic
Osages bought their reservation land from the Cherokees after squatters overran their gibs rez in Kansas.
They paid cash, which they had made from leasing grazing land to the cattle drives heading to Kansas City.
The popular books, and subsequent tv series Little House on the Prairie is based on the story of one of those rez squatters.
Since the Osage paid cash for their land they technically still held title to their land when the U.S. Gov arbitrarily decided it could quit any Indian treaty. Primarily, they still held the mineral rights.
Next came the oil boom.
They remade Wind River?
>3:26:00
noty
What is it with shitalians and making movies that all need to be 3.5 hours long? Why are they so arrogant?
That's my biggest problem. The story doesn't even sound like it should be so long.
My main concern is Lily Gladstone's resting smug face. I'm afraid my urge to b***hslap her will override any enjoyment of the film.
Are all native americans cube-faced?
I will pre-ordering tickets and seeing it opening night.
>Screenplay by Eric Roth
Jesus Christ, Zemeckis, keep your dog on his leash.
I'm not interested either.
Why doesn't die or retire or KYS himself?
I can't believe she would say that
Leo is an untalented homosexual, he has been trying to be DDL for the past 20 years.
He's going to ruin another Scorsese flick
Down Down-Low? He's turbogay?
Leo was raped as a child, that's why he's always with young models.
Reminds me of Corey Feldman and his angels
A roastie libtard wrote that review.
No, it was a dude
https://letterboxd.com/ingmar/
A gay*
says the homosexual defending leo's shitty performance, he's not going to frick you bro
>says all this shit
>three stars
I don't believe this person understands what they are doing reviewing movies.
He praises Scorsese:
>A bad Leo performance isn’t enough to stop Scorsese though. Some of these compositions are breathtaking: a line of men running around a ring of fire obscured by a fogged glass window, the darkly lit tableau when Leo meets with Fraser & co., the deathbed vision, etc. But I can’t grasp why he’s structured this with the signature Goodfellas storytelling: constant montage, short scenes at rapid pace, tongue-in-cheek cutaways. The whole film feels strangely distant from the actual violence. Whereas The Irishman makes a jarring turn into something slow and elegiac, this is too speedy and propulsive for its own good. It even ends with a cheeky riff on a standard “based on a true story”-movie postscript, including a final note of meta-winking (clearly intended as a sincere gesture). I thought Silence and Irishman were among his best work: vivid and disarmingly personal. This one feels a bit mangled by rewrites and re-edits, lacking a singular vision, little cumulative bite, and retreading old ground. The worst thing about Scorsese's direction here is it's sometimes more self-imitational than self-confrontational: a major distinction from the best works of his late-period.
Why are you so obsessed with this homosexual reviewer
Is this just a remake of Heavens Gate but with more injuns and less polacks?
Is Leo actually a great actor or is he carried by the directors he works with?
He’s carried by the 8 trillion horny women who fell in love w him in Titanic. He’s a painfully average actor.
I fell in love with him but in Blood Diamond
I've said it before but Leo is only good with a good director and a screenplay that has him playing a character that takes advantage of his natural insecurities. Watch him in interviews; he tries so hard to sound well read and smarter than he is because you can tell he is constantly fighting against the image of himself as just a pretty face/heartthrob. Savvy directors can at times capture this aspect of his personality from the right angle a la Costigan in the Departed, or Belfort in Wolf of Wall Street. You could argue Tarantino got this in Once Upon A Time in Hollywood but that was definitely the most obvious approach to getting a good performance out of Leo. Regardless, he has no original thoughts of his own, a total muppet creatively. He'll never be a great director or writer or autuer even though thats clearly what he wishes he was. I think Marty's really wore Leo and himself out though. I couldn't give a shit about this flick. It's so uninspiring tha Marty won't take a real risk anymore either.
The perfect example of this is EIGHT GODDAMN WHISKY SOURS. And as for Marty, Silence is probably going to be his last kino.
I love Marty, but Gangs of New York signaled a change in his work. I don't think DiCaprio was right for him in the long run. Silence, though, was pretty damn great. Bringing Out the Dead, to me, is the last of his work I went crazy over.
Marty SHOULD have done at least 2 more films with based Nic Cage.
Yeah, even considering Nic's straight-to-video ouevre I still think he's been painfully underutilized
2000s Scorsese > 70s Scorsese > 90s Scorsese > 2010s Scorsese > 80s Scorsese
Reddit is that way you cringe contrarian
Nobody hates Leo more than Redditors. Unless it's Django Unchained which was a terrible movie and a waste of everyone involved.
That is the correct take. Just look at his filmography post Bringing Out the Dead
>Gangs of New York
>The Aviator
>The Departed
>Stutter Island
>Hugo
>Wolf of Wall Street
>Silence
>The Irishman
>Killers of the Flower Coom
All Kino
It's an even split of good (Gangs of New York, The Departed, Wolf of Wall Street, and Silence) and bad (Aviator, Shutter Island, Hugo, and The Irishman)
I guess I should probably watch Silence. At least its one of his only recent departures from his gay infatuation with De Niro/Dicaprio
>average actor
That's just a stupid thing to say. Cringe to you sir.
Why do yall hate natives, they got it even worse than anybody in america, theres hardly any of them left
I heard they're all drunk morons.
they're all drunk morons
>theres hardly any of them left
Black person there's a billion native americans alive today most of them speak spanish.
Zoomer here, can I get a list of classic western kino where the natives all get shot?
Yeah, this won't make any money. Movies that are supposed to be sure-in tentpoles flop and are immediately sent to streaming. Scorsese should wake the frick up and realize no one cares anymore about what shit he's made. The times have changed.