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  • Cape Fear

    Cape Fear


    Marty goes full Hitchcock for his first truly mainstream, straightforward genre picture: Saul Bass' titles, Bernard Herrmann's music and an unambiguously bad bad guy are all umbilically connected to the master, with Max Cady staring out of that Fourth Of July parade as if daring you not to think of Bruno Anthony's Strangers On A Train tennis-match glare. Scorsese brings along his usual baggage of sexual guilt, seductive temptation of evil, and salvation and redemption themes, but they're less effective…

  • GoodFellas



    The entry-level gangsters of Who's That Knocking At My Door and Mean Streets may have grown up and become more powerful, but Martin Scorsese's wiseguys never rise high enough that they don't have to worry about looking over their shoulder. The paranoia of that world bleeds out of every bullet hole in GoodFellas, where something as innocent and everyday as a potential flat tyre could erupt into grisly violence at any second.

    Scorsese's mid-career masterpiece is almost a fantasy autobiography…

Popular reviews

  • Oblivion



    If you're the kind of person who liked Moon but a) needed every single piece of information explained to you at length and b) didn't think it had enough explosions or Tom Cruise in it, then Oblivion is for you.

  • Man of Steel

    Man of Steel


    Like Krypton itself, Man Of Steel collapses under the weight of its own excesses, its hollow core the cause of its doom. It's beyond saving.

    That said, fat Laurence Fishburne outjogging a collapsing skyscraper is proper lolz.