The Wolf of Wall Street

Elaine Malone silently hopes that Leonardo DiCaprio finally gets that oscar as she reviews his latest film

The Wolf of Wall Street’s trailer has everything; sex, drugs and an enormous amount of money with Kanye West’s ‘Black Skinhead’ reverberating in the background. Often a trailer is edited to the extent that it bears no resemblance to a film, just to get bodies in the door stuffing popcorn in their mouths. Martin Scorsese is a formulaic director, where he takes take one true or good story, adds quick dialogue, a snappy soundtrack and bankable cast. But Christ it works. From Goodfellas to the Departed he barely strikes a wrong chord and the cinematography is excellent. Each scene is amassed with minute details, if you can take your eyes of the hookers. United once again with his charismatic lead Leonardo DiCaprio, a glinting Oscar looks to be in the cards.

[quote text_size=”small”]

It’s sexy, slick, quick-witted and worth the seven quid.



The pace of the trailer is matched by throughout, no real loss of momentum. The great underdog of this movie is Jonah Hill, usually a furiously masturbating icon for the frustrated pubescent male, he shines in false teeth and Quaalude trips. Another surprising turn is Matthew McConaughey as Mark Hanna, his Texan drawl illuminates the screen and he returns to the past glory of Dazed and Confused, finally escaping romcom purgatory.

Scorsese has one flaw in his storytelling, idealisation. In Goodfellas it’s a love-affair with the mob and here it’s the rich. Jordan Belfort is the king of capitalism. There is no sense of feigned morality it’s plain that they don’t give a shit. The drive is greed and power. For a true story. It’s heavily stylised and self-referential. Belfort’s narration is witty and not too imposing. It also sets a new record for the most uses of Fuck in a non-documentary film, between 506 and 544 times.  But Scorsese delivers. It starts out strong with a blaze of booze and cocaine and breasts, his fourth with his muse Leonardo DiCaprio. Scorsese knows the power of a good soundtrack and this one hell of a good one.  It shows an immaculate portrayal of yuppie culture excess. Wild drug use and hookers on tap. At times the film glorifies their excess. You watch and you drool at the beautiful women and stare wide-eyed at the human-dart. It’s realistic of the time and the power of money over the nouveau riche. Alas! There is retribution, but Scorsese isn’t Aesop and you watch his movies because he is the king of making a good show. It’s sexy, slick, quick-witted and worth the seven quid.