{"id":158401,"date":"2021-01-03T19:30:12","date_gmt":"2021-01-03T19:30:12","guid":{"rendered":"https:\/\/gamerant.com\/every-martin-scorsese-movie-ranked-rotten-tomatoes\/"},"modified":"2021-01-03T19:30:12","modified_gmt":"2021-01-03T19:30:12","slug":"every-martin-scorsese-movie-ranked-by-rotten-tomatoes","status":"publish","type":"post","link":"https:\/\/itteacheritfreelance.hk\/wordpress\/index.php\/2021\/01\/03\/every-martin-scorsese-movie-ranked-by-rotten-tomatoes\/","title":{"rendered":"Every Martin Scorsese Movie, Ranked By Rotten Tomatoes"},"content":{"rendered":"

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Martin Scorsese is arguably the greatest living filmmaker. The number of masterpieces to his name rivals such legendary directors as Akira Kurosawa and Alfred Hitchcock. Movies like Taxi Driver<\/em> and Goodfellas<\/em> have been meticulously studied for decades, and will continue to be studied for decades to come. While he\u2019s mainly known for gangster movies, Scorsese has dabbled in a wide range of genres, from musicals to dark comedies to psychological thrillers.<\/p>\n

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Not all of Scorsese\u2019s movies rank among the best ever made, but his ratio is a lot higher than most<\/a>. Across a career that spans half a century, there\u2019s only one \u201crotten\u201d score among Scorsese\u2019s directorial efforts on Rotten Tomatoes.<\/p>\n

26 <\/span>Boxcar Bertha (52%)<\/h2>\n
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Scorsese directed his second feature, romantic crime thriller Boxcar Bertha<\/em>, for producer Roger Corman, whose heavy-handed sensibility seriously hindered Scorsese\u2019s usually nuanced filmmaking. The one good thing to come out of Boxcar Bertha<\/em> is that after fellow director John Cassavetes saw it and told Scorsese, \u201cYou\u2019ve just spent a year of your life making a piece of sh*t<\/a>,\u201d he was inspired to helm his first masterpiece: Mean Streets<\/em>.<\/p>\n

25 <\/span>New York, New York (63%)<\/h2>\n
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The flop that almost ended Martin Scorsese\u2019s career, musical New York, New York<\/em> benefits from a phenomenal lead performance by Liza Minnelli, whose title theme became iconic when it was recorded by Frank Sinatra.<\/p>\n

24 <\/span>Shutter Island (68%)<\/h2>\n
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Culminating in a doozy of a plot twist, Shutter Island<\/em> is a harrowing psychological thriller that flips the all-is-not-as-it-seems trope on its head several times over. Leonardo DiCaprio\u2019s captivating lead performance<\/a> keeps the audience hooked even when nothing makes sense.<\/p>\n

23 <\/span>Who\u2019s That Knocking At My Door? (70%)<\/h2>\n
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Scorsese\u2019s feature debut, Who\u2019s That Knocking at My Door?<\/em> is a sobering drama in which Harvey Keitel plays a young man who finds out his girlfriend was sexually assaulted by her ex-boyfriend. This simplistic, but powerful premise serves a poignant examination of relationships.<\/p>\n

22 <\/span>Bringing Out The Dead (72%)<\/h2>\n
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In many ways, Bringing Out the Dead<\/em> is a spiritual successor to Taxi Driver<\/em>. It\u2019s another Scorsese\/Schrader collaboration about a disturbed mind whose job has them driving around a bustling city in the middle of the night, but instead of a cabbie, it\u2019s an ambulance driver.<\/p>\n

21 <\/span>Gangs Of New York (73%)<\/h2>\n
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One of Scorsese\u2019s most ambitious projects, Gangs of New York<\/em> tells the story of how America was born. Leonardo DiCaprio and Daniel Day-Lewis anchor the movie with phenomenal lead performances.<\/p>\n

20 <\/span>Cape Fear (75%)<\/h2>\n
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Scorsese\u2019s remake of the classic 1962 thriller Cape Fear<\/em> doesn\u2019t reinvent the wheel. Bernard Herrmann\u2019s score is left intact and Robert De Niro\u2019s Max Cady is similar to Robert Mitchum\u2019s. But it works, because the original did everything right and the remake just brings those familiar thrills into the modern age.<\/p>\n

19 <\/span>Kundun (75%)<\/h2>\n
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With a timeline that spans more than two decades, Scorsese\u2019s biopic of the 14th Dalai Lama follows a pretty episodic structure, but Roger Deakins\u2019 cinematography and Philip Glass\u2019 score are impeccable.<\/p>\n

18 <\/span>New York Stories (75%)<\/h2>\n
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Martin Scorsese, Francis Ford Coppola, and Woody Allen each directed a segment in New York Stories<\/em>, an anthology movie that sought to capture the titular city. Scorsese\u2019s segment, \u201cLife Lessons,\u201d is the first one shown and arguably the best of the three.<\/p>\n

17 <\/span>Casino (80%)<\/h2>\n
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While it\u2019s often criticized for emulating the style of Goodfellas<\/em> instead of branching off and becoming its own thing, Casino<\/em> does have a very different story. Robert De Niro and Joe Pesci\u2019s dynamic is the crux of the movie\u2019s examination of organized crime in Las Vegas.<\/p>\n

16 <\/span>The Wolf Of Wall Street (80%)<\/h2>\n
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There\u2019s a widespread debate about The Wolf of Wall Street<\/em>. It\u2019s an excessive pitch-black comedy that bombards audiences with the shocking antics of stockbrokers for three hours.<\/p>\n

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Some viewers believe it\u2019s an incisive satire cutting down the culture that made Jordan Belfort\u2019s crimes possible, while others believe it celebrates the legacy of a criminal. Ultimately, like any great piece of art (or better-than-average biopic), it\u2019s in the eye of the beholder.<\/p>\n

15 <\/span>The Last Temptation Of Christ (81%)<\/h2>\n
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Almost all of Scorsese\u2019s films involve Catholic themes, but his most overtly religious film is The Last Temptation of Christ<\/em>, a biopic chronicling the life and times of Jesus Christ. Instead of adapting Jesus\u2019 life from the Bible, Scorsese drew from the darker alternate version found in Nikos Kazantzakis\u2019 controversial novel.<\/p>\n

14 <\/span>Silence (83%)<\/h2>\n
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A close second to Last Temptation<\/em> for the title of Scorsese\u2019s most overtly religious movie, Silence<\/em> is an underrated gem. The director developed the project for decades and the end result didn\u2019t disappoint: it\u2019s a touching, beautifully shot epic about the harrowing ordeals faced by missionaries in the 17th century.<\/p>\n

13 <\/span>The Age Of Innocence (84%)<\/h2>\n
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As far removed from the usual graphic violence of Scorsese\u2019s filmography, The Age of Innocence<\/em> is a period romantic drama adapted from the Edith Wharton novel of the same name. It\u2019s always interesting to see a director with a distinctive style step outside their comfort zone.<\/p>\n

12 <\/span>The Aviator (86%)<\/h2>\n
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Leonardo DiCaprio gave one of his finest performances as Howard Hughes in the big-budget Scorsese-helmed biopic The Aviator<\/em>. He would\u2019ve been a shoo-in for Best Actor if it hadn\u2019t been the same year as Jamie Foxx\u2019s revelatory portrayal of Ray Charles.<\/p>\n

11 <\/span>Alice Doesn\u2019t Live Here Anymore (88%)<\/h2>\n
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One of the criticisms aimed at Scorsese\u2019s work is that he usually features male protagonists and sidelines female characters like Peggy Sheeran in The Irishman<\/em>. But Scorsese did once make a movie with a strong female protagonist played by an Oscar-winning Ellen Burstyn in Alice Doesn\u2019t Live Here Anymore<\/em>.<\/p>\n

10 <\/span>After Hours (89%)<\/h2>\n
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Although movies like Goodfellas<\/em> are funnier than most comedies, Scorsese has only made one full-on comedy, After Hours<\/em>, about an office worker\u2019s surreal odyssey through New York across one fateful night.<\/p>\n

9 <\/span>The Color Of Money (89%)<\/h2>\n
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Scorsese\u2019s comments about the Marvel movies have made it clear he\u2019s not a franchise guy, but he did direct Paul Newman in a sequel to The Hustler<\/em>. The Color of Money<\/em> catches up with an aging \u201cFast Eddie\u201d Felson as he takes a mentor played by Tom Cruise under his wing.<\/p>\n

8 <\/span>The King Of Comedy (89%)<\/h2>\n
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Exploring similar themes to Taxi Driver<\/em> but with a razor-sharp comic edge, The King of Comedy<\/em> was one of Scorsese\u2019s most underrated movies until Todd Phillips\u2019 Joker<\/em> ripped it off and bungled the satire. Robert De Niro\u2019s turn as aspiring comedian Rupert Pupkin is one of his all-time greatest performances.<\/p>\n

7 <\/span>The Departed (91%)<\/h2>\n
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The movie that finally won Scorsese an Oscar for directing, The Departed<\/em> adapts the complicated plot of Infernal Affairs<\/em> for Hollywood as a cat-and-mouse thriller in which the cat and mouse are looking for each other.<\/p>\n

Leonardo DiCaprio and Matt Damon play an undercover cop trying to figure out the identity of the mob\u2019s police mole and a mole trying to figure out the identity of the undercover cop who\u2019s infiltrated the mob, respectively.<\/p>\n

6 <\/span>Hugo (93%)<\/h2>\n
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During the 3D boom of the early 2010s, Martin Scorsese ventured into the third dimension for Hugo<\/em>, his first kids\u2019 movie, which starts off as a journey through 1930s Paris and\u00a0morphs into a film studies lesson when Ben Kingsley\u2019s character turns out to be Georges M\u00e9li\u00e8s.<\/p>\n

5 <\/span>Raging Bull (93%)<\/h2>\n
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Flitting between a stylized cinematic ride inside the ring and a minimalist, almost documentary-like slice of life outside the ring, Raging Bull<\/em> gives a beautifully rounded portrait of the tragic figure at its core: boxer Jake LaMotta.<\/p>\n

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Robert De Niro gives arguably the greatest performance of his career, portraying LaMotta\u2019s rage with a powerful authenticity. It\u2019s not always easy to watch, but it\u2019s always compelling.<\/p>\n

4 <\/span>Mean Streets (95%)<\/h2>\n
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Although it was his third directorial effort, with its focus on life in the mob and themes of Catholic guilt, Mean Streets<\/em> is the first Scorsese movie that feels like the kind of Scorsese movie the director\u2019s fans have come to expect.<\/p>\n

3 <\/span>The Irishman (95%)<\/h2>\n
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With cutting-edge de-aging effects (that still aren\u2019t quite there yet), Scorsese brought the entire life of Frank Sheeran to life<\/a> in Netflix\u2019s three-and-a-half-hour giant The Irishman<\/em>. The CGI wasn\u2019t always perfect, but seeing Robert De Niro, Joe Pesci, and Al Pacino starring in the same movie, firing on all cylinders, was a treat for cinephiles.<\/p>\n

2 <\/span>Goodfellas (96%)<\/h2>\n
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Having grown up around the mob, Scorsese has explored organized crime in a number of his movies. The thesis is always to warn audiences against a life of crime by reminding them of the inevitable outcome. The life of mafioso-turned-informant Henry Hill presented him with the perfect vehicle to explore this message. Pulling out all the cinematic stops, Goodfellas<\/em> hits viewers like a speeding bullet<\/a>.<\/p>\n

1 <\/span>Taxi Driver (96%)<\/h2>\n
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With the aesthetic of a film noir and the themes of a western, Taxi Driver<\/em> is a one-of-a-kind masterpiece. Scorsese\u2019s dark urban tale of an insomniac cabbie with PTSD from fighting in Vietnam who is driven to exact vigilante justice by the rampant crime and corruption around him perfectly captured the fears of its time.<\/p>\n

Along with Network<\/em> and Cuckoo\u2019s Nest<\/em>, Taxi Driver<\/em> is one of the cornerstones of the post-Watergate New Hollywood movement\u2019s cynical, rebellious tone.<\/p>\n

NEXT:\u00a0Every Quentin Tarantino Movie, Ranked By Rotten Tomatoes<\/a><\/span><\/p>\n\n

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Martin Scorsese is one of the most prolific filmmakers of all-time. Here’s how Rotten Tomatoes ranks his films.<\/p>\n<\/div>","protected":false},"author":1074,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"slim_seo":{"title":"Every Martin Scorsese Movie, Ranked By Rotten Tomatoes - ITTeacherITFreelance.hk","description":"Martin Scorsese is one of the most prolific filmmakers of all-time. Here's how Rotten Tomatoes ranks his films."},"footnotes":""},"categories":[607],"tags":[],"_links":{"self":[{"href":"https:\/\/itteacheritfreelance.hk\/wordpress\/index.php\/wp-json\/wp\/v2\/posts\/158401"}],"collection":[{"href":"https:\/\/itteacheritfreelance.hk\/wordpress\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/itteacheritfreelance.hk\/wordpress\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/itteacheritfreelance.hk\/wordpress\/index.php\/wp-json\/wp\/v2\/users\/1074"}],"replies":[{"embeddable":true,"href":"https:\/\/itteacheritfreelance.hk\/wordpress\/index.php\/wp-json\/wp\/v2\/comments?post=158401"}],"version-history":[{"count":1,"href":"https:\/\/itteacheritfreelance.hk\/wordpress\/index.php\/wp-json\/wp\/v2\/posts\/158401\/revisions"}],"predecessor-version":[{"id":158402,"href":"https:\/\/itteacheritfreelance.hk\/wordpress\/index.php\/wp-json\/wp\/v2\/posts\/158401\/revisions\/158402"}],"wp:attachment":[{"href":"https:\/\/itteacheritfreelance.hk\/wordpress\/index.php\/wp-json\/wp\/v2\/media?parent=158401"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/itteacheritfreelance.hk\/wordpress\/index.php\/wp-json\/wp\/v2\/categories?post=158401"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/itteacheritfreelance.hk\/wordpress\/index.php\/wp-json\/wp\/v2\/tags?post=158401"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}