Popular reviews

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  Review by Nick Naney ★★★★ 8

  Funny to think of a bunch of guidos still high off Goodfellas going to see this together and being like “da fuck was Marty thinking?!” but one of them secretly weeps in the bathroom of the pizzeria they hit up later

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  Review by Sean Gilman ★★★★★ 13

  This review may contain spoilers. I can handle the truth.

  Rewatch confirms what I've suspected for awhile: this is Martin Scorsese's very best movie . . . poor Newland Archer, always thinking he's the smartest person in the room when in fact he's the dumbest . . . and what rooms, those sweeping tracking shots, rooms cluttered with objects, the conspicuous wealth of the 1870s, generated on the backs of the wholly absent poor . . . a world of unimaginable riches and power, so seductive, its occupants entirely unaware of its exceptionality: a simple matter of fact that their universe is the way it is because they are destined to lead it, their system of unexpressed rules governing their every motion . . . Archer thinks he understands it,…

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  Review by fran hoepfner ★★★★½

  I docked a half star for this movie not being able to predict how nicely Daniel Day-Lewis would age

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  Review by Muriel ★★★★★ 4

  martin scorsese here are my keys go fuck my wife‬

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  Review by SilentDawn ★★★★★ 4

  98

  Stages of entrapment - Newland Archer only feels "free" when he recognizes the sweltering societal prison suffocating him, but even though the rules are known, there is no ambition to break them, because that would mean 'breaking the rules.' Archer cannot do that. He has too much to lose. His pampered, rigid place in the system is more important than passion and a fleeting sense of self-satisfaction, conveyed by those half-coveted/half-dreaded quick glances and stares. Scorsese presents what being acknowledged in this time and place was like, and fully realizes both the pointlessness of the grandeur and the terror of the loss of that sweet nothing. The aching coda grants a final memory to be re-lived, soaked up by the afternoon sun; one that represents distance more than anything. The Age of Innocence bleeds like a broken heart. Alas, the heart wasn't even adequately fulfilled so that it could be ruined. Archer missed that too.

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  Review by Roberto_ ★★★★ 2

  martin scorsese getting mainly known for his gangster movies and then directing daniel day-lewis in a period romance adaptation about a man who cries at plays and takes comfort in his monthly shipment of books... THE RANGE

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  Review by sydney ★★★★★ 6

  quite obviously scorsese's best movie, and i can't help but wonder with a twinge of regret what my life might have been like if i'd watched this hundreds of times instead of goodfellas & casino...

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  Review by k(arst)en ★★★ 8

  I wanted to LOVE this but just never got that invested. I can really appreciate the performances and some of the writing but it was just not my thang for a good portion of it’s runtime. Sorry to the Age of Innocence fandom!

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  Review by KYK ★★★★½ 1

  if she turns around i’ll go to her

  we’ve all played that game before

  35mm. Quad Cinema.

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  Review by Jake Cole ★★★★★ 1

  A curious mirror image of Taxi Driver, one where the protagonist's unhappiness actually can be blamed on society rather than his own miserable psychosis. Scorsese has a long list of formally sublime works, but even among his own canon the technical force of this film is immense. Every movement runs in direct opposition to the controlled motion of the characters, reflecting the human passions and uncontrollable desires that roil beneath the surface. Dissolves feel like acid burning through flesh, and rapid interlays of close-ups capture the way that characters swiftly home in on things from social outcasts in a public setting to aching reminders of longing in private. An agonizing film, one that trembles with so much suppressed passion that the lack of any cathartic explosion makes it unbearable.

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  Review by georgina ★★★★ 2

  Daniel Day Lewis had no business looking THAT hot in the 90s

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  Review by Jamelle Bouie ★★★★½ 4

  Much to say about the beautiful sets, gorgeous cinematography and restrained (for Scorsese) camera work. But on this first watch, I am especially struck by how expressive the three leads are within the rigid confines of the Victorian mores they are performing. Lewis’ aching desire, Pfeiffer’s deep frustration and Ryder’s deceptive innocence are all so clearly conveyed even as they are communicated by the slightest of looks, of glances, of movements. Brilliant work all around.