A greatly misuderstood and, hence, dismissed film in the film fan communities for being a "celebration" of greed. To those that think so, I'd like to point out that criticism doesn't always need to be expressed in the form of explicit disapproval. That being said, maybe it did trust the audience's intelligence a bit blindly. DiCaprio/Hill is honestly one of my favourite movie duos ever (the quaalude scene!!!).
The "energy" and "thrills" (as imagined by certain Kael cryptkeepers) are that of a corpse under electroshock - forced, mindless, yet still irretrievably dead. Scorsese's wall-to-wall familiar schtick is rote and mediocre; the music selection/deployment is particularly poor. And such flop-sweaty, tired "comedy"; Marty knows Fellini and Larry Charles (he was so funny on "Curb Your Enthusiasm"), but nothing rubbed off.
Nonostante racconti la storia vera di un uomo che ha fregato tutto e tutti, rimane un film geniale. Jordan Belfort interpretato da DiCaprio diventa l'eroe della situazione, un uomo che ammiri per la sua furbizia. E vogliamo parlare di McConaughey che fa la sua "danza del denaro"? Se teniamo conto che è stata improvvisata, porta la scena ad un livello spettacolare. Muoio dal ridere tutte le volte.
If everyone who likes this would disappear in a black hole, the world would probably be a very, very, very cool place to live in. A world where I wouldn't have to deal with people not seeing through this self-gratifying cinema glorifying drugs. Losers. Mingus would have a fit if he knew his music was in this.
What's the point to make such a film? We all know that, regularly, money and power allow our most basic instincts to tear up the frail veil of 2500 years of civilization. Even Martin Scorsese can't find an ounce of redemptive behaviour or thoughts in Jordan Belfort. Wall Street is cursed. Already forgotten.
This is one of those rare films that has some degree of greatness in every single scene (more impressive when you consider its three-hour runtime), whether its a career-best performance, a piece of Terence Winter's hilariously profane script, or an example of Thelma Schoonmaker's excellent editing work. It's easily one of the best films that Scorsese has ever made.