Martin Scorsese has reportedly been trying to make an English-language adaptation of Shūsaku Endō’s novel Silence for upwards of 25 years. Watching the finished movie, it’s easy to see why he fought so hard to make it — and why it took so long to get someone to finance and distribute it. Silence encapsulates many of Scorsese’s most deeply felt themes; ideas about faith, sin, and guilt he’s considered in film after film for decades. But it does so in a package that is slow, dry, and a little monotonous. Fans (there will certainly be some, and not without reason) will hail Silence as a passionate and perceptive career summation. Silence’s critics will likely agree — while wishing that summation wasn’t such a slog.
A helpful mantra to repeat to yourself while reading this article might be “I trust Martin Scorsese. I trust Martin Scorsese. I trust Martin Scorsese.” And whatever you do, try to envision Benjamin Button and not, say, a certain baffling posthumous CGI rendering featured in Rogue One. That said, here’s the news: Martin Scorsese is planning to use advanced CGI technology to de-age Robert De Niro in The Irishman — come to think of it, they’ve been planning this movie for so long that de-aging De Niro seems reasonable.
Martin Scorcese’s Silence, which pretty much everyone was completely unaware of until it announced a release date coming up later this year, has a mysterious plot, and a hugely talented cast. With Liam Neeson, Andrew Garfield, and Adam Driver in starring roles, it would be very difficult for this movie to be a miss. We’ve seen stills of Neeson and Garfield so far, but Driver’s look has been kept under wraps — until today, when Paramount released a new still.
It was reported last week that foreign distribution rights were being shopped around Cannes for Martin Scorsese’s long-developing mob drama The Irishman — a project that’s been gestating for so long that we started to think it might not ever happen. But STX Entertainment has snatched up the rights to distribute the film overseas, which means that The Irishman is finally happening after all.
Last week, we took note of a new business venture called Screening Room spearheaded by Napster founder Sean Parker. The proposed service would digitally stream the latest major-studio theatrical releases into the confines of private American homes for a hefty estimated fee of $50 on the same day as in-theater premieres, rendering a trip to the local cineplex less necessary than ever. Naturally, this radical new strategy would change the entire face of the industry, and has accordingly raised hackles on the production, distribution, and exhibition sides of Hollywood. As movie theaters struggle to stay relevant and profitable, Parker’s every press conference sounds like a death knell. And this weekend, both sides of this instantly contentious debate dug in their heels on their positions.
Martin Scorsese’s Goodfellas won just one Oscar (for supporting actor Joe Pesci) at the 1991 Academy Awards. (The year’s Best Picture winner was Kevin Costner’s Dances With Wolves.) But the film seems to grow more popular and critically acclaimed every year, to the point where it’s now considered one of Scorsese’s masterpieces, one of the best movies of the 1990s, and perhaps the best gangster film ever made without the word “godfather” in the title. Astonishingly (at least it feels astonishing to an old man like me), it’s been 25 years since Goodfellas made its debut in theaters, an anniversary Scorsese and his cast and crew will celebrate next month with a 25th anniversary screening and reunion at the 2015 Tribeca Film Festival.
Over its 83 years, the Academy Awards ceremony has produced hundreds of memorable, inspirational and surprising moments. The coveted Oscar statuette instigates cinema's elite to cry, kiss, scream and "exercise." With emotions running high and the tension thick, there is no telling what will happen during the upcoming February 27th show. Maybe even something that will knock one of the fol