Don't miss Lucas Miller's The Box Officer, a lightning-fast, side-splitting "hommage" to Martin Scorsese's Taxi Driver, to be premiered just before Sunshine's special midnight screening of a newly restored print of the 1976 classic Friday, Saturday and Sunday, October 9 through 11. Just what happens when the dark passions of the streets of New York invade the four walls of a cinema?
Jordan Belfort might be content to be a jerk if only he knew that he was one. Or perhaps his jerkiness is as self-evident to him as the truth that life is all about the Benjamins. At first The Wolf of Wall Street seems like the “I was going to be busy all day” climax of Goodfellas extended to three hours and accelerated from Cadillac to Ferrari pace. No other Scorsese movie is so playful, few are so funny; what a thrill to see Our Greatest Director disburdened of the weight of prestige almost to the point of bad taste. Like Casino, The Wolf of Wall Street is a three hour film which never settles down. Instead of exposition, character development, subplot, landscape and wallowing in production design, there are fake TV ads (starting with the one which opens the film, blending with the production company logos), cover versions of once good songs, direct address to camera, the thoughts of characters narrated to us as voice over and several interminably uninspiring “inspirational” speeches. This is the world of a man whose vocabulary, grammar and syntax are made of such ticky-tack.
For a man of the 1970s, Travis Bickle spends a lot of time looking at and through screens. His world is nearly always framed, either by a movie screen, an old TV, a windshield, a shop window or a rear …