Mineshaft Gap

It's a screening log, no more no less. Maybe I'll have something interesting to say one of these days...


After Martin Scorsese lost yet again in the Oscars this year, I was mad. Not Bill Murray loses to Sean Penn mad, but up there. So in protest I headed out and bought the first Scorsese boxset that had been released. It featured one of my favorite movies, Goodfellas as well as four that I had never seen before. Yes, somehow I got to 21 without seeing Mean Streets. It's taken me a while to work through them, but I finally got to After Hours the other night.

Wow. That's all I can say. Playing like an essay in favor of the auteur theory, Scorsese's dark, bitter, funny film bears his fingerprints on every frame. From the long, painstaking tracking shots to the locations in SoHo to the cosmically doomed characters this is a SCORCESE FILM in all caps. It also, however plays like a breath of fresh air from a man who had taken maybe one to many steps towards Hollywood. After the debacle of the first attempt at The Last Temptation of Christ, Scorsese needed to refind himself. He did that by expanding on his oevrue at the same time.

Who knew Marty could be this funny. Credit also goes to a wicked little screenplay, but Scorsese's own impeccable visual timing is what really clicks. His tracking shot reveals show the same mastery of the camera as comedy as Woody Allen.

After Goodfellas and tied with Raging Bull, this is my second favorite Scorsese film.

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