From Taxi Driver to Killers of the Flower Moon: The 10 best films by Martin Scorsese in the Ranking

Killers of the Flower Moonis the name of the latest coup from director legendMartin Scorsese. A dark western thriller that lets us immerse yourself in the brutal world of the real Osage murder series in the Oklahoma of the 1920s. In the 206 -minute long and therefore only shorter successor toThe Irishmanlead scorseseslong -term canvas heroes Leonardo DiCaprio and ROBERT DE NIROThrough a shattering story of money, greed and violence.

WhenMaster of cinematography and storytellingMartin Scorsese, like very few directors, can allow himself to turn such cinematic epics in our time. Scorsese's work is an ode to the rough part of the human existence and the tough street life of New York. With films likeTaxi Driver,Gangs of New YorkorShutter IslandDid thatOscar winnerled into the darkest corners of the human psyche and created characters of incomparable depth and complexity. His narrative strength breaks, such as inGoodfellas, conventional limits and expectations.

Martin Scorsese is not just a great director. He is a cinema alchemist that transforms raw emotions into cinematic gold bars. His influence on the film industry is immeasurable and its legacy is inviolable. In short: Scorsese is the cinema. Below are theten best films by Martin Scorsese.

No question, the entertainment value of the film is enormous, but this does not mean that Martin Scorsese is in itportrayed lifestyle around Jordan Belfortadmired. On the contrary: similar to thatGoodfellasTaps the audience into the directorial trap, it could be a comedy.

In demThree-hour Wall Street frenzyRemoves Scorsese the moral guardrails and leaves the viewers of thisdrama that was characterized by hideous excesses and soaked into excessEnjoy to the fullest. However, a grandiose leading actor is also required, here incaptivatingly arrogant and complacent form ofLeonardo DiCapriowho with his asshole mentality and unprecedented fervor in theHurricane of his dizzying escapadespulls.

WithThe Wolf of Wall Streethas Martin Scorsese oneWhite collar version of his legendary gangster stripescreated that despite its glitter and glamor facadeRelentless questions about the amoral greed of human naturethrows up. Kyle Chandler, as a senior FBI agent, seems to be the only person with something like a conscience-but who of us please is on his side in the approximately 180 minutes?

The film marked Martin ScorsesesIn advance into the untamed landscape of urban crimeand the cornerstone of his remarkable career -He is his true debut. This raw diamond offers oneIntensive snapshot of life in Little Italy, New York, through the eyes of the shoted small ganoven Charlie, represented by Harvey Keitel.Robert De niros scorsesesa start and breakthrough as an unpredictable Johnny Boyincreases the inner drama. The instinctive direction, coupled with an authentic representation of city district life and moral dilemmata, catches a mixture of documentary precision and cinematic poetryDark, fascinating vision of the urban underworlda.Mean Streetsis pure, inimitable scorsese.

Scorseses's mafiosi are mostly charismatic and exciting, but sooner or later she also catches up with the fatal professional risk. Poors on the one hand, or certain bites on the other. For the viewers it is always a moral ambivalence, but in perhaps no other mafia film, you do as much wrong as in this regard as inThe Irishman.

In the true crime report by Charles Brandts BrandtsI Heard You Paint Housesinspired story about theIrish order killer Frank Sheeran and the Bufalino family of the American Cosa Nostrathere are no sympathy, no heroes or antiheroes. In this way, Scorsese manages to penetrate the emotional core of what makes these men capable of such incredible acts of violence and corruption. The routine virtuoso game by Robert de Niro, Al Pacino and especially Joe Pesci creates an atmospheric narrative that (not always successful) digital rejuvenationUnusual view of the transience takes a lookAnd creates an astonishing symbiosis from the past and the present.

After 15 years that couldHeart project of the man from Queensare finally implemented afterNetflixinvolved with a budget of almost $ 160 million. It is athoughtful old -age work, the Scorseses Gangstergrafie with dignity crowns. And in the end the morality is of the history: crimes are not worth it.

Admittedly, theParallels tooGoodfellasare not to be dismissed: both mafia epic scraped by Nicholas Pileggi, both with the organization at their climax and Robert de Niro and Joe Pesci in their parade rolls. Still becomesCasinoOften wrongly punished as almost the same but not quite as good sequel.

As created asIntensive and colorful fresco of organized crimetakes us Scorsese into the glittering inferno of Las Vegas. The focus is on Robert de Niro and Sharon Stone, which in oneExplosive mix of power, greed and fraudrise. De Niro as a ripped off casino boss Sam "Ace" Rothstein and Stone as his capricious sneaky wife ginger enter aphenomenal duooff, the conflicts of which form the core of the film, perfectly complemented by James Woods as a shabby pimp and Joe Pesci as usual choleric time bomb.

Martin Scorsese deliversSome of the best sequences of his careeroff, with Robert Richardson's iconic steadicam, which pulls the viewer deep into the glamorous and at the same time brutal world of gambling while themasterful narrative art of the directorunfolds a multi -layered, fateful suction.Goodfellasstays scorseses mostly, butCasinoIs not far from it.

After the huge success ofLike a wild bullScorsese actually wanted de Niro again for his next planned project,The last temptation of Christ. But theFreshly baked Oscar winnerHad enough of serious dramas and suggested turning a comedy instead.

Is just so funnyThe King of ComedyContrary to the title. With satirical criticism, Scorsese questions theIllusions of quick fame and pathological longing for recognition. Robert de Niro as a stalkender would-be comedian Rupert Pupkin delivers oneTroubling and at the same time fascinating performancethat makes the boundaries between delusion and reality blur. With Jerry Lewis as a radiant talk show moderator Jerry Langford on the other side, which becomes the destination of Pupkin's obsessive striving, the film reaches a dual brilliance.

The King of Comedyis aoppressive social study of the distorted celebrity cultureand theModern story of the obsessed fanboy, who also reminded of John Lennon's murder by Mark David Chapman in New York two years earlier.

With their overall sixth cooperation, Leonardo DiCaprio and Martin Scorsese cement their legend status as a Dream team of contemporary US cinema. Robert de Niro would now hook up if he wouldn't be in this epic stroke of genius, for the tenth time in a scorseses film. Together, Scorseses Musen de Niro and DiCaprio have shaped the past five cinema decades like nobody else in Hollywood. For the first time are nowAll three united in one work-This announcement alone was sufficient for (hobby) critics toKillers of the Flower MoonTo choose a masterpiece before his world premiere in Cannes. But even after the viewing of the three and a half hour (!) Streak, this definition has not changed for many and the arguments that support them are enough.

The focus of the saga in Scorsese, not as it is set by most filmmakers, is the rescue of the indigenous ones through the white (here in the form of the FBI), but theFascinating and devastating love storyBetween DiCaprios Ernest Burkhart and his wife Mollie.

This small but fine difference complements a large, but conventional US drama with an intimate element that is oneEpic story about greed, corruption and violence makes, with electrifying romance and a Freudian father-son tragedy. This makes something much more personal from it, although all the important topics of the director are represented here. The sound iscalm, reserved and yet urgent and explosive. The absurd duration of the film is only long on paper, you never feel excluded, on the contrary, the individual characters pull you directly into the action. Lily Gladstone as Osage Mollie is thatDiscovery of the yearAnd plays the enormously complex character masterfully. She takes the film as his heart. And yet there is no chance to escape the canvas presence of the two male main actors. Robert de Niros William "King" Hale is a perfidious string puller in the background who just takes everything he wants, and thus to theSymbol image for the old white manthis time. And Leo DiCaprio shows with theMaybe the best acting of his careerthat you can still feel something like pity with such a hideous and greasy Mistkerl as Ernest Burkhart.Flower Moonispowerful, hypnotizing and touchingly sad as well as entertaining- and Martin Scorsese is anything but old age.

NeunOscar nominations, just one award: Hardly imaginable that "Marty" had not received a single award until the award ceremony in 2007 - as always, you could just speculate about the various particular interests of the Academy. At least that waslate Directing Oscarby no means undeserved for the then 64-year-old.

Das Remake des Hongkonger ThrillersInfernal Affairsis aExtraordinary chess game of identities, deception and betrayal. Masterfully constructed, Scorsese builds one over two and a half hoursuncanny tensionon while beinggrandeMutual in a tour sniffed, lurked and insulted. Matt Damon and Mark Wahlberg deliver the best performance of their career, Jack Nicholson performs, as an over -the -top mafia boss. And Leonardo DiCaprio tortures himself as an anxiety sweating undercover agent through the film as if his own life was at stake.

A scorse strip has never been more gripping. That the film afterwardsLoose finger exercise by the masterlooks, makes the whole thing all the more impressive.

From Jake Lamotta's at most mediocre memoirs, Martin Scorsese made a breathtaking psychodrama around ten years later, which over timeone of the best and most important films everhas become.

The whole thing already looked like on paper on the Oscar fabric, at the 1981 awardRaging Bull(Like a wild bull) Then two of his eight nominations - Thelma Schoonmaker for "Best Cut" and Robert de Niro for "Best Protecher". The latter gave up 60 pounds for the role and turned into a locked beast on the canvas, which could only find something like peace if she beat up the skull or let him beat himself. It was oneExceptional representation of the anger burned box legend lamotta, including all the private turbulence, the prison sentence and career as a stand-up comedian. In addition theingenious occupation of the previously unknown Joe PesciWhen Jake's brother Joey, who turned out to be a second sensational discovery to de Niro as a Scorseses.

Raging BullBut also made onenon-evaluating pioneering work for subsequent (boxing) biopics, who still have to be measured on the scenes in the ring, which, as cruel and repulsive they may be, trace the shadowy poetry of an impressionist painting.

"The power of the mind on the wrong way" - Martin Scorsese described the character of Travis Bickle, the main character in thisundisputed milestonethat one between the many cited sentences and iconic lookstroubling portrait of a psychotic outsiderdescribes. With the merciless camera work and the shrill jazz score of Bernard Herrmann, Scorsese takes us on oneHypnotic ride through the dark New York of the seventies.

Robert de Niro, who actually drove through the city by taxi alone in preparation for the role at night, delivers oneScary, incomparably intensive performanceAs a disillusioned Vietnam veteran. Bickle is dangerous without knowing it, with existential despair in the face and uncontrolled anger in the stomach. His hopeless fight against social isolation and its disturbed perception of reality and fiction formsdisturbing moral image urban decadence.

With Travis Bickle, de Niro and Scorsese haveThe kind of lonely, embittered and lost young manshown that there are all over the world and which we see around us every day - people who are not yet fully shaped and can explode at any time if or because they are not taken seriously by society.Taxi Driveris aMarker -shot, cultural lighthouse- Painful, provocative and profound at the same time.

Does Martin Scorsese glorify violence in his films or does he only depict the cruel reality? The often presented criticism that the director wouldGlorifying gangsters, was never bigger than his most famous film. The fact does not exactly help that thisCultural classic cemented in our pop culture memoryIs and therefore runs the risk of being perceived as a single collection of cool types, memorable quotes and that brutal violent scenes.

ButGoodfellasis less a pure film adaptation of the mafial life than apowerful, nuance -rich meditation over power, Loyalty and the destructive whirlpool of criminal ambitions. The film also describes theSharmen of the gangster existencethat crooks love life deep inside that they lead, which is incredibly exciting and wild as well as entertaining and funny to look at. Perfectly summarized in theiconic Copacabana nightclub camera ride: Henry Hill (Ray Liotta) and his girlfriend are recognized by everyone, get the best places and shampus on the house, but have to get over the back entrance to get it all.

Scorsese has never made a secret of the fact that he grew up with types like Hill and that he always admired her, even though he knew that he might not. Thiscontradictory feelingshe processes here in an enormously effective way. So you are regarding thecharismatic uptakes and misconceptionsFrom de Niro, Pesci and Co., even after the umpteenth time, still look as well as torn.Goodfellasis aincomparable epic and irresistible masterpiecethat redefines the era of gangster cinema and series such asThe Sopranosgave her DNA - and, sorry Francis Ford Coppola andGodfather, theBest mafia film ever.