The Wolf of Wall Street trailers (updated)

thanks to GF…

thanks to Aviator..


18 Responses to “The Wolf of Wall Street trailers (updated)”

  1. Looks closer in spirit to The King of Comedy than anything else in Scorsese’ oeuvre. Looking forward to this more than any other American movie this year.


  2. we go..they should call it The Big Money Meltdown..stellar cast…


  3. Have been sold on to this ever since I heard about this last year..Marty & Leo..unmissable..scheduled to release in late November 2013..McConaughey finally gets to do a Marty film..for his truly average talent, got to consider himself lucky..


    • Matthew McConaughey has been going through a reinventing phase from 2010. Having spent the 90s struggling to make it as a lead to settling for romcoms in the last decade, he has delivered surprisingly effectively turns in critically acclaimed dramas and comedies alike such as The Lincoln Lawyer, Bernie, Killer Joe, Mud and Magic Mike among others. He was this close to an Academy Award nomination last year. And this year too he has, apart from this Scorsese flick, the Dallas Buyers Club where he plays a homophobic druggie in the 80s who begins smuggling alternative medicine when an FDA approved anti-HIV drug renders him with only 30 days to live. Gotta give credit to the man for restarting his career after 2 decades of average fare.


      • Agree that he has moved on from rom-com and is doing pretty interesting projects. But I have yet to see any riveting/defining performance from him. He was good in THE PAPERBOY too. It is just that he is unable to get himself out of that Texan drawl he keeps going back to even when he plays someone born and brought up in Albany. He might surprise me and I am not denying that. But so far, I haven’t been convinced of his range. He is interesting in his post-rom-com hunk phase, and that’s all I have felt.


      • You forgot the killer.. all his movies are one side and getting chosen as lead for Christopher Nolan’s next, INTERSTELLAR is the prime side. This movie alone can bring back Matthew McConaughey to top league.


  4. Hmm another one to look out for…
    Didn’t know Leo’s doing another one with scorcese
    Apparently this has dujardin and mcconaughey as well…will be nice.
    As for mcconaughey, I recently had seen ‘mud’
    Not getting a chance-Will speak about about it soon…


  5. New trailer, looks great:

    [added to post]


  6. Wonderful – waiting for this one..Leo has ALMOST replaced the place vacated by De Niro in Marty’s oeuvre..


  7. Scorsese directs a D&G ad:


  8. NY Times:

    December 24, 2013
    When Greed Was Good (and Fun)

    By A. O. SCOTT
    Future archaeologists, digging through the digital and physical rubble of our long-gone civilization in search of reasons for its collapse, will be greatly helped if they unearth a file containing “The Wolf of Wall Street,” Martin Scorsese’s three-hour bacchanal of sex, drugs and conspicuous consumption. Then as now, the movie is likely to be the subject of intense scholarly debate: Does it offer a sustained and compelling diagnosis of the terminal pathology that afflicts us, or is it an especially florid symptom of the disease?

    From its opening sequence — a quick, nasty, unapologetic tour through its main character’s vices and compulsions, during which he crash-lands a helicopter on the grounds of his Long Island estate and (not simultaneously) shares cocaine with a call girl in an anatomically creative manner — to its raw, chaotic finish, “The Wolf of Wall Street” hums with vulgar, voyeuristic energy. It has been a while since Mr. Scorsese has thrown himself into filmmaking with this kind of exuberance. “Goodfellas,” a sprawling inquiry into how some men do business, is an obvious precedent, and so is “Mean Streets,” an intensive study of how some men get into trouble. Even the occasional lapses of filmmaking technique (scenes that drag on too long, shots that don’t match, noticeable continuity glitches) feel like signs of life. This movie may tire you out with its hammering, swaggering excess, but it is never less than wide-awake.

    At the center of the whirlwind is Jordan Belfort, a crooked stock trader played by Leonardo DiCaprio, who has recently become the handsome cinematic face of extreme capitalism. “The Great Gatsby“ (this year’s other major motion picture about a rich criminal with a mansion on Long Island) gave Mr. DiCaprio a chance to explore the romantic side of wealth. Playing a plantation owner in “Django Unchained,” he savored the sulfurous corruption of an older ruling class. As Jordan (a real person whose memoir is the source of Terence Winter’s screenplay), he achieves a kind of superhuman shallowness. Jordan is forthright about the ecstasies of money — the pills, women, cars and other toys it allows him to buy, and above all the pure dopamine rush of acquiring more — and indifferent to anything else. Gordon Gekko, the lizard of “Wall Street,” proclaimed that greed is good. That sentiment is far too lofty for Jordan. What matters to him is that greed is fun.

    Mr. Belfort’s book is more boast than confession, and Mr. Winter (whose television credits include “The Sopranos” and “Boardwalk Empire”) declines to treat his rise and fall as a fable of redemption. As portrayed in the movie, Jordan Belfort is a thoroughly despicable human being, but one whose charm — the ineradicable trace of melancholy furrowing Mr. DiCaprio’s brow, the still-boyish openness of his smile — makes actively despising him almost impossible.

    After meeting Jordan at his saturnalian peak, we flash back to his beginnings as an eager newbie at a reputable firm, where he is introduced to the mysteries and pleasures of the trade by a gleefully Mephistophelean Matthew McConaughey. This is less a fall from grace than a rite of passage, and after the crash of 1987 flushes Jordan out of the real Wall Street, he finds a way to recreate its worst and most attractive aspects. Taking inspiration from a storefront penny-stock outfit, he conjures up a high-profile company with the fake blue-blood name of Stratton Oakmont.

    As my colleague Joe Nocera has recently pointed out, the misdeeds of Stratton Oakmont — a relatively straightforward pump-and-dump scam built on the temporarily inflated value of often worthless stocks — have little in common with the elaborate, as yet mostly unpunished, schemes that wrecked the economy a decade after Jordan Belfort’s downfall. The sums that Jordan and his pals rake in may be huge, and their methods unsavory, but they are small-timers operating on the fringes of real power and attracting the attention of law enforcement (embodied by Kyle Chandler, playing a meager hand as well as he can). The big fish, still swimming freely, can be found in “Inside Job,” Charles Ferguson’s magnificent, indignant documentary on the origins of the financial crises, or in J. C. Chandor’s “Margin Call.”

    Anyway, what makes “The Wolf of Wall Street” a vital and troubling document of the present is not so much Jordan’s business plan — he tells us repeatedly that it’s too complicated and boring to explain — as his approach to life. It’s a truism that every salesman sells himself, and as Stratton Oakmont grows, Jordan becomes an evangelist of easy money and unbridled pleasure. The ambitious brokers who flock to its trading floor are lured by the promise of huge bonuses and endless debauchery, but their enterprise is held together, above all, by the boss’s charisma.

    His first convert is Donnie Azoff (Jonah Hill, a manic, tubby Joe Pesci to Mr. DiCaprio’s Robert De Niro), a middle-class nebbish who gathers a bunch of like-minded losers into a recognizably Scorsesean crew. (Eventually Jordan’s dad, an accountant played by Rob Reiner, overcomes his initial reservations and joins the fun.) These guys are less violent than the mobsters of “Goodfellas,” and also less preoccupied with supposed codes and traditions, but they are nonetheless a familiar testosterone brotherhood, and Mr. Scorsese cannot help but revel in their profane, hormonal vitality.

    What they do is consistently appalling and sometimes very funny. The comedy in “The Wolf of Wall Street” can be deliciously brutal — an extended sequence in which Jordan and Donnie are so blitzed on Quaaludes that they can barely move is sure to join Mr. Scorsese’s greatest-hits reel — but the movie laughs with Jordan as well as at him. And, intentionally or not, it makes a fetish of his selfish bad-boy lifestyle.

    This brings me back to the question I started with, which perhaps should be posed another way: Is this movie satire or propaganda? Its treatment of women is the strongest evidence for the second option. On his way up, Jordan trades in his first wife, a sweet hometown girl named Teresa (Cristin Milioti), for a blonder, bustier new model named Naomi (Margot Robbie), whose nakedness is offered to the audience as a special bonus. (Mr. DiCaprio never shows as much as she does.) The movie’s misogyny is not the sole property of its characters, nor is the humiliation and objectification of women — an insistent, almost compulsive motif — something it merely depicts. Mr. Scorsese, never an especially objective sociologist, is at least a participant-observer.

    His camera has always operated partly in the service of his id. This is a virtue and a failing, since his best films register a passionate fascination with the frequently ugly worlds they depict, a reluctance (or inability) to step back. “The Wolf of Wall Street” is no exception, and in this case it may be unfair to demand from the director a clarity of judgment that virtually nobody else — in business, politics, journalism or art — seems able or willing to articulate.

    Does “The Wolf of Wall Street” condemn or celebrate? Is it meant to provoke disgust or envy? These may be, in the present phase of American civilization, distinctions without a meaningful difference behind them. If you walk away feeling empty and demoralized, worn down by the tackiness and aggression of the spectacle you have just witnessed, perhaps you truly appreciate the film’s critical ambitions. If, on the other hand, you ride out of the theater on a surge of adrenaline, intoxicated by its visual delights and visceral thrills, it’s possible you missed the point. The reverse could also be true. To quote another one of Mr. Scorsese’s magnetic, monstrous heroes, Jake LaMotta, that’s entertainment.

    “The Wolf of Wall Street” is rated R (Under 17 requires accompanying parent or adult guardian). Naked women, naked greed.


    • Great,great,great news!!!!

      Unfortunately for LEO, this again proves how terrible his stardom and acting credentials are — even KAMAAL R KHAN can act damn well in a Scorcrse film..


  9. A killer role that Leonardo DiCaprio has wanted to play for a long time finally is coming to the forefront after Paramount just closed a splashy deal to acquire the Erik Larson book The Devil In The White City: Murder, Magic And Madness At The Fair That Changed America. There was a big auction that had five studios chasing and three bidding aggressively — Universal and Fox were the others — before Paramount captured a package that has DiCaprio starring and reteaming with his The Wolf Of Wall Street director Martin Scorsese. Billy Ray will write the script. Appian Way’s DiCaprio and Jennifer Davisson are producing with Stacey Sher, Scorsese and Emma Tillinger Koskoff. This is a big one for recently minted Paramount Film Group President Marc Evans; it’s expected to be the next collaboration for DiCaprio and Scorsese, who’ve made five films together.


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