This month's movie reviews

Adam Hayworth

There have been so many good movies out lately. Twelve Years a Slave was the most powerful film I've seen in years. Inside Llewyn Davies was enjoyable in a harmless kind of way. Whereas this Scorsese flick about Jordan Belfort was outrageously entertaining.

Is it morally acceptable to celebrate villainy? There's no point in pretending The Wolf of Wall Street doesn't do that, and pretty emphatically too :)

Read my full review

A decadent lifestyle of lavish parties, sex and drugs follows. Jordan regularly uses prostitutes and becomes addicted to cocaine and Quaaludes. FBI Agent Patrick Denham (Kyle Chandler) begins investigating Stratton Oakmont. When Jordan meets Naomi Lapaglia (Margot Robbie) at one of his parties, he begins an affair with her, resulting in his divorce from Teresa.

Jordan makes Naomi his second wife in an extravagant wedding and gives her a yacht aptly named Naomi, and soon they have a daughter, Skylar. Meanwhile, the Securities and Exchange Commission works jointly with the FBI to intensify the Stratton Oakmont investigation.

Mark Brenner

Thanks for the review. I'm off to see this tonight!

Michelle Armstrong

It was way way over the top, but it carried three hours pretty well. Very entertaining in a gross kind of way. DiCaprio was brilliant as ever but he's in danger of becoming typecast after Gatbsy and now this.

Adam Hayworth

DiCaprio was brilliant as ever but he's in danger of becoming typecast after Gatbsy and now this. — Michelle Armstrong

Good point. He's become the degenerate rogue of choice. Plays it well though :)

Joe Jeffries

The Wolf of Wall Street unpacks the pre-war crisis of masculinity through its use of subversive semiotics.

Douglas Torres

↪Michelle Armstrong

The expressionistic play between sound and history in The Wolf of Wall Street launches visual salvos against Bergman-esque assertions of the nature of humanity.

These comments are generated using the excellent Film School Thesis Generator.

Philippa Rizvi

The strategic use of narrative ellipses in The Wolf of Wall Street fetishizes the plight of the migrant worker in post-war America.

Zara Price

The expressionistic play between sound and history in The Wolf of Wall Street launches visual salvos against Bergman-esque assertions of the nature of humanity. — Douglas Torres

The expressionistic play between sound and history in The Wolf of Wall Street hybridizes the subjugation of the individual in the face of the primacy of television.

Michelle Armstrong

Through the masking of narrative, The Wolf of Wall Street dichotomizes the rise of currency and the loss of utopia.

Jackie Taylor

The Wolf of Wall Street questions the containment of visual pleasure through its frequent use of long takes.

Mark Dayton

@Josephine Miller Through the frequent use of long takes, The Wolf of Wall Street calls into question the subjugation of the individual in the face of the primacy of television.

Mark Brenner

The use of implied depth-of-field in The Wolf of Wall Street exposes existentialist philosophy.

Jessica Bell

The Wolf of Wall Street reminds the spectator of Bergman-esque assertions of the nature of humanity through its use of telling jump cuts.

Mike Wolf

Through the masking of narrative, The Wolf of Wall Street dichotomizes the rise of currency and the loss of utopia. — Michelle Armstrong

The Wolf of Wall Street deconstructs pre-Oedipal guilt through its poetic use of tableaux.

Josephine Miller

The Wolf of Wall Street conforms to the fascist aesthetic through its political use of voiceover.

Philippa Saville

Through the conflicting duality of progress and humanity, The Wolf of Wall Street conforms to the major pillars of post-feminism.

Joe Jeffries

@Mark Brenner The fluid identification of the viewer in The Wolf of Wall Street fragments order and chaos.

Douglas Torres

Through the juxtaposition of poverty and nature, The Wolf of Wall Street hybridizes the containment of visual pleasure.

Philippa Rizvi

The masking of narrative in The Wolf of Wall Street masks socioeconomic ambivalence in American society.

Zara Price

↪Adam Hayworth

The use of telling jump cuts in The Wolf of Wall Street launches visual salvos against Bergman-esque assertions of the nature of humanity.

Michelle Armstrong

The Wolf of Wall Street calls into question the disavowal of the female lack through its use of mise-en-scene.

Jackie Taylor

The use of telling jump cuts in The Wolf of Wall Street fetishizes passive and active gaze.

Mark Dayton

Through the use of implied depth-of-field, The Wolf of Wall Street demystifies order and chaos.

Mark Brenner

The fluid identification of the viewer in The Wolf of Wall Street launches visual salvos against order and chaos.

Jessica Bell

Through the frequent use of long takes, The Wolf of Wall Street contains and then breaches passive and active gaze.

Mike Wolf

The political use of voiceover in The Wolf of Wall Street echoes nativist arguments of the early-twentieth century.

Josephine Miller

The juxtaposition of poverty and nature in The Wolf of Wall Street launches visual salvos against pre-Oedipal anxieties.

Adam Hayworth

The Wolf of Wall Street launches visual salvos against the rise of currency and the loss of utopia through its use of implied depth-of-field.

Philippa Saville

The political use of voiceover in The Wolf of Wall Street exposes suburban notions of containment.

Joe Jeffries

The Wolf of Wall Street fetishizes suburban notions of containment through its use of subversive semiotics.

Douglas Torres

The Wolf of Wall Street demystifies Bergman-esque assertions of the nature of humanity through its strategic use of narrative ellipses.

This month's movie reviews

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