RocKnR0ll

After 9 years and a thousand ups and downs, I thought they would make a more conventional album, but instead they tried to do something different from their past. I see them a bit more pop-oriented in some moments, while in others definitely rocking and bluesy. I notice a strong influence in Weiland's singing from Bowie during the Ziggy Stardust period. It's not a masterpiece, but it's a new path that's pretty good, giving cause for hope.

My group is called Winston Smith.....

I have a great love for Super Session, the one with Mike Bloomfield, but this is just a tiny bit less. Great rock blues jamming!

It's true that this is one of the rare occasions where De Niro has been dubbed by a voice actor other than Amendola without making it too noticeable; in fact, while I consider Amendola to be De Niro's Italian voice, in this case, Proietti's voice seems much more similar to the original De Niro.
(Proietti also dubbed him in the other Scorsese film "Mean Streets.")

One of my all-time favorite films by Scorsese, slightly behind Goodfellas.

But it's been 5, especially the Live Album... that one is really intense!

But it's been 5, especially the Live Album... that one is really intense!

With great regret, as a fan of Scorsese, I was a bit disappointed by this film.
The premises for a great movie were all there.
Let's start with the PROs: excellent cinematography that well captures the "sick" atmosphere of the film, some "[dreamlike/mental](https://en.wikipedia.org/wiki/Dreamlike)" sequences skillfully crafted by a true Master. Di Caprio's performance is formidable; he brilliantly carries the film's two hours and 20 minutes on his shoulders, and with Martin, he has definitely become one of the best actors of recent years, along with strong performances from all the supporting cast, like the always great Mark Ruffalo, and the wonderful Ben Kingsley, and the story adapted from the novel is interesting and intriguing.
Now for the CONs: the great Telma Schoonmaker, already a winner for Departed, didn't impress me much in editing this time: now, sure, the film's subject is mental health, but many "wrong" cuts might have been intentional, yet at certain moments some scenes feel like they've been "chopped with an axe." But what truly didn't convince me is that if I had watched the film without knowing it was Scorsese directing, I would never have noticed his touch. Let me explain: someone like him has accustomed us to remarkable directorial virtuosity and personal touches; whereas in this film, it seemed like he was directing more with "craft" than with "mastery."
And what really didn't sit well with me, but perhaps it's something derived from the literary source, was the way everything was explained at the end in a rather weak and hasty manner... and I won't go further to avoid spoiling….
In conclusion, I think Scorsese attempted to tackle a genre he has rarely explored, like the psychological thriller, with good results but not exceptional ones. Perhaps he truly shines in "gangster" films (forgive the term), succeeding only in some masterful sequences where music, cinematography, and direction elevate it to cinema greatness, but I believe he could have pushed the boundaries much further.
Maybe next time, Uncle Martin.

I just discovered them...really explosive!

Personally, I consider it their masterpiece. Here is the great Southern rock reinterpreted in a modern key, full of psychedelia and groove.