
Goodfellas
Every gangster film of the last thirty years is arguing with this one: Scorsese made the life so intoxicating for an hour that the comedown lands like a physical event.

Every gangster film of the last thirty years is arguing with this one: Scorsese made the life so intoxicating for an hour that the comedown lands like a physical event.

Travis Bickle escaped the picture and entered the language: Scorsese and De Niro made a lonely man's interior so exact that it stopped being about one man at all.

Scorsese shot boxing as penance rather than sport, and audiences come out feeling bruised: De Niro's jealousy destroys everyone near him, in the blackest black and white imaginable.

Scorsese remade a Hong Kong thriller and made it entirely his own: a cop inside the mob, a mobster inside the police, and a pitch that never once relaxes.

Three hours of pure excess that never once slow down: Scorsese was seventy-one years old, and it moves faster than films made by directors a third his age.

Scorsese found his whole method here at thirty: Little Italy, Catholic guilt, a handheld camera and a jukebox that never stops, most of it shot in Los Angeles.

It flopped and now looks like prophecy: De Niro plays a man who believes fame is owed to him, and Scorsese refuses to let you laugh comfortably.

Scorsese's Las Vegas is a machine for taking money and the film shows you every gear: three hours of narration, costumes and a system that eats everyone inside it.

A rock concert storyboarded like a feature and shot on 35mm by seven camera crews: The Band's 1976 farewell is the concert film everything else gets measured against.

Scorsese made a children's film in 3D to argue for film preservation: an orphan living inside a Paris railway station keeps a broken automaton his father left him, and the station watches him.

A Paris cinema showing it was firebombed and Scorsese needed years to get it financed: Christ imagined as someone who could refuse, with Peter Gabriel's score sounding like the actual Middle East.

Paul Newman got his Oscar twenty-five years late, for playing the same character a second time: Scorsese films pool halls like boxing rings, and Tom Cruise is the new hustler.