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| Released: |
2013 |
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| Genre: |
DRAMA
BLACK COMEDY
BIOPIC
COMEDY
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| Origin: |
US |
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| Length: |
180 |
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MIXED Reviews
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| As a sensory experience, WOWS is mostly a terrifically visceral one, a full throttle fast and furious bacchanalia of drug-fueled madness. But as a scathing indictment of American rapacity, it isn't particularly deep or resonant beyond the exterior. |
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| (Rodrigo Perez, The Playlist) |
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| Scorsese, that sly spiritualist, is out to make us sick on commerce and greed run rampant. He moves us beyond the allure of avarice so that we might take better stock of ourselves. What starts as a piggish paean becomes, by the end, an invigorating purge. |
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| (Keith Uhlich, Time Out New York) |
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| Martin Scorsese’s The Wolf of Wall Street is absurd, ridiculous, over the top, overindulgent, overlong, overstuffed, over-everythinged. And that is precisely the point. |
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| (Bill Goodykoontz, Arizona Republic) |
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| The most exhilarating film of the year is also the most exhausting. |
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| (Joe Williams, St. Louis Post-Dispatch) |
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| The feverishly paced film is hell-bent on making the audience feel like they just snorted a Belushian mountain of blow. You can practically feel your teeth grinding to dust. As with any high, though, it also doesn't know when to stop. |
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| (Chris Nashawaty, Entertainment Weekly) |
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| A touch too long, yet never slack, at three hours, TWOWS benefits from independent funding, Scorsese’s brass balls and an A-grade cast’s turbulent improvisations to emerge as an epic, boldly broad screwball comedy about the state of America, then and now. |
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| (Rob James, Total Film) |
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| It's entertainingly outrageous, and there's a shaggy-dog comic effect in seeing the same nightmare debauch over and over, although I don't think the coke'n'strippers war stories exactly constitute that critique of capitalism that some pundits have claimed for this film... The Wolf of Wall Street does not quite have the subtlety and richness of Scorsese's very best work, but what an incredibly exhilarating film: a deafening and sustained howl of depravity. |
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| (Peter Bradshaw, Guardian) |
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| On a technical level – and with characters as unlovable as these, technicalities are everything – the film is as slick as its subject's sales patter, with cinematographer Rodrigo Prieto shooting on a hybrid of film and digital, shifting the depth and clarity of his lenses to match the focus and/or confusion of the character. Editor Thelma Schoonmaker has done a first-rate job helping a struggling Scorsese get the running time down to just under three hours, but I still found myself guiltily longing for Harvey "Scissorhands" Weinstein to burst in and commit some Gangs of New York-style butchery, leaving at least another 20 minutes bleeding on the floor. |
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| (Mark Kermode, Observer) |
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, Matthew McConaughey 