🔥Every Martin Scorsese movie, ranked from worst to best🔥

🔥Every Martin Scorsese movie, ranked from worst to best🔥 After receiving his 10th Oscar nod with 2023's Killers of the Flower Moon, Martin Scorsese officially became the most-nominated living filmmaker in the Best Director category. Over his unparalleled career, the filmmaker has helmed at least one masterpiece in every decade since the 1970s, many of which have influenced multiple generations of directors and cinephiles. Though he’s most often associated with exhilarating crime sagas like Goodfellas and The Departed (not to mention his depictions of violence), Scorsese has repeatedly proven to be adept at practically every genre, from religious epics and cerebral thrillers to black comedies and domestic dramas. Oh, and there's his prolific documentary work, which has chronicled prominent artists in music, film, and journalism. Without further ado, here’s EW’s ranking of every Martin Scorsese movie. Scorsese’s second narrative feature is his only project that never quite clicks or has much to say. An exploitation film set during the Great Depression and produced by B-movie mogul Roger Corman, Boxcar Bertha tells the loose, meandering story of a southern bank robber (Barbara Hershey). Scorsese’s natural eye for visuals ensures that there’s a handful of inspired shots — and his creative collaboration with Hershey ultimately proved fruitful, as it led to The Last Temptation of Christ — but the overall project is the lone dud in the director’s filmography. Believe it or not, Scorsese has directed more music documentaries than gangster movies, and even the weakest among them has a decent amount of propulsive energy to it, thanks largely to the Rolling Stones’ undeniable on-stage charisma. The film is a pretty straightforward concert doc, capturing the Stones’ 2006 show at the Beacon Theater on their A Bigger Bang Tour, which features guest performances from Christina Aguilera, Jack White, and Buddy Guy. The most compelling moments are the bursts of archival footage where the younger Stones contemplate their longevity. It’s a solid piece of concert filmmaking, but not quite on the level of Marty’s other musical ventures. Martin Scorsese, Francis Ford Coppola, and Woody Allen each helmed a segment for this anthology film. Scorsese’s piece of the movie, Life Lessons, stars Nick Nolte as a troubled painter who channels his complex feelings toward his ex-girlfriend/assistant (Rosanna Arquette) — jealousy, anger, attraction — into his pieces. The short is quite strong and easily the best of the trio, as Coppola’s cutesy sequence in the middle is grating from its opening minutes, and Allen’s unsurprisingly neurotic finale never lives up to its full potential, so the overall viewing experience is disappointingly unbalanced. Scorsese’s first project with Leonardo DiCaprio came in this unwieldy historical crime epic, which chronicles the violent conflict between Catholic and Protestant factions in 1860s Manhattan. There’s a lot to love in Gangs of New York — sprawling period sets, exhilarating battle sequences, Daniel Day-Lewis’ turn as Bill the Butcher — but its pacing feels more uneven than in the director's other lengthy films. And it certainly doesn’t help that Scorsese fought over the final cut of the film with producer Harvey Weinstein, who insisted on a shorter, more commercial runtime. Scorsese’s fixation on worldbuilding and historical detail seems to create a detachment from the characters’ emotions and motivations; everyone feels much more thinly–sketched than the players in most of his other work. The filmmaker’s second Bob Dylan doc is a puzzling experiment that fuses fact with fiction. In its examination of the folk singer’s 1975 Rolling Thunder Revue tour, it employs interviews with actual Dylan collaborators and fictional characters played by actors who claim they were involved with the tour. Patti Smith, Joan Baez, Allen Ginsberg, Joni Mitchell, and Sharon Stone recount their experiences on the road in interview footage, though it remains unclear how much of their testimony can (or should) be believed due to the project’s unusual relationship with the truth. It’s an intriguing swing that spins an entertaining, multifaceted yarn about one of the great American musicians, but its ambiguity makes it difficult to fully parse. Cinematographer Roger Deakins ensures that this Dalai Lama drama is one of Scorsese’s most visually stunning works to date, as every shot is rich with either a stunning landscape or vibrant textures, provoking grandeur and lived-in intimacy simultaneously. The flow of the narrative, however, is wildly inconsistent, which makes it tough to emotionally or intellectually invest in the proceedings. And the central figure’s supposed leaderly perfection doesn’t make for much internal conflict. That shouldn’t be an issue given the plethora of external pressure facing the characters, but it unfolds at such a leisurely pace that massive events feel somewhat inconsequential.