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Leonardo DiCaprio
Catch Me If You Can (2002)
The Aviator (2004)
Scorsese keeps a good handle on the turbulent material of Hughes's sprawling life... spectacular... fleet... admirably eccentric.
Titanic (1997)
The Departed (2006)
Kept in balance,
The Departed
's verbal and visual gifts, gun-toting menace, down-and-dirty existentialism, and bristling suspense should please both sides of the movie aisle.
Blood Diamond (2006)
I'll take
Blood Diamond
over
Lethal Weapon 5
any day. Let's call it a flawed gem.
The 11th Hour (2007)
Gangs of New York (2002)
The impact is all in the broad strokes of Scorsese's design: the corresponding coming-of-age stories of three confused and violent adolescents: Amsterdam Vallon, New York City, and America.
Body of Lies (2008)
If you’re going to have a mall-ready entertainment about the war on terror, you might as well have this one.
Revolutionary Road (2008)
Revolutionary Road
’s existential dread of unspoken feelings bubbling to the surface perhaps better resembles Tennessee Williams, a towering explorer of authenticity and self-delusion.
The Basketball Diaries (1995)
It was impossible in
The Basketball Diaries
not to take notice of DiCaprio's seemingly undauntable talent, as he channeled the tortures of the drug-addicted damned.
The Man in the Iron Mask (1998)
Shutter Island (2010)
Multiplex entertainment this distinctive and provocative doesn’t come along every day: it’s a head trip well worth taking.
Inception (2010)
The simplest way to sum up the greatness of
Inception
is to identify it as a new classic of science-fiction cinema (and, for that matter, the heist genre).
J. Edgar (2012)
Despite the odd sharp observation, somehow
J. Edgar
comes off like the Max Fischer Players' production of
Serpico
...
Django Unchained (2012)
There's a case to be made that blood-spattering revenge pictures, no matter how evil the villain, are cultural poison, but if this is what it takes to [get] Don Johnson as a dyed-in-the-wool racist done up as Colonel Sanders, well, so be it.
The Great Gatsby (2013)
Luhrmann approaches the story and directs his actors in ways that hold them at a distance from us: the overkill plays less as bold art and more as lack of trust in the source material.
The Wolf of Wall Street (2013)
Rests comfortably alongside Scorsese's masterpieces
Goodfellas
and
Casino
, but carries a sting that even they don't by examining the most acceptable, yet most rapacious, of criminal swindles.
The Revenant (2015)
A certain breed of film geeks will snap fingers in approval, but most viewers—having been pummeled into acknowledging the film's muscular 'greatness'—will feel little more than dazed, and ready more for a nap than a conversation.
Once Upon a Time...in Hollywood (2019)
Content finally joined by the movie gods to form—for at last, the moving-picture magpie has lighted on Hollywood as his setting and, in no small part, his subject.
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