Commando 3 box office collection: Vidyut Jammwal's action film registers Rs.10.38 on opening weekend

Vidyut Jammwal's latest film Commando 3 has been registering descent collection at the box office. The film which opened to Rs.4.74 crore on Friday, has earned an estimated Rs 5.64 crore on Saturday. The total box office collection of the film stands at Rs 10.38 crore.

Check out the box office collection here

#Commando3 shows an upward trend on Day 2... Metros witness growth, mass circuits perform better... Day 3 [Sun] should see healthy numbers again... Eyes ₹ 16 cr [+/-] weekend... Fri 4.74 cr, Sat 5.64 cr. Total: ₹10.38 cr. #India biz.

— taran adarsh (@taran_adarsh) December 1, 2019

Helmed by Aditya Datt, the high-octane action drama also stars Adah Sharma, Angira Dhar, and Gulshan Devaiah in pivotal roles.

The Commando series was introduced in 2011 with Commando: A One Man Army. The second part, Commando 2: The Black Money Trail, came out in 2017.

Commando 3 narrates the story of a vigilante Karanveer Singh Dogra (played by Vidyut Jammwal) who goes goes to London to stop a terrorist attack on India. Singh is tasked to team up with Mallika Sood (Dhar) from British Intelligence and Indian agent Bhawana Reddy (Sharama) to save the nation, and knock down Devaiah's evil plans.

While talking about the film, Datt told to Hindustan Times, "I don’t want to show the action sequences with no head and tail to it. In Commando 3, there is a strong reason behind every action sequence that takes place. You will see a new side of Vidyut. I wanted the character of Karan Singh Dogra to be little soft. I want the audience to be engaged in a story, enjoy the thrill, action and in the end, take a thought back home.”

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From Jallikattu, Kumbalangi Nights to Uyare, Virus, ten recent Malayalam films to watch on OTT platforms

Thanks to OTT platforms, regional cinema has found a more pan-Indian audience. The sheer range of stories set in milieus that are not very familiar but offer charming, multi-layered narratives played out by brilliant actors have piqued their intrigue.

It all started with Baahubali, which became the highest-grossing film in India, the third highest-grossing Indian film worldwide, and the highest-grossing South Indian film, at the time of its release. And its sequel, Baahubali 2: The Conclusion, was an even bigger hit.

If Bangalore Days and Premam were the icebreakers for Malayalam cinema, Angamaly Diaries and Kumbalangi Nights this year helped in creating a wider audience. This year, Lucifer, a stylishly tweaked political action thriller directed by Prithviraj, starring Mohanlal and Manju Warrier, remains one of the highest grossing Malayalam films of all time, and has been dubbed in Tamil, Telugu, and Hindi, and released on Amazon Prime Video India.

While there is quite an impressive line-up of Malayalam films on various streaming platforms, we are picking some of the ones released during 2018 and this year, to make it easier for you. Here is the best of romance, drama, satire, thriller, and action films available online.

Jallikattu (Amazon Prime Video India)

Directed by Lijo Jose Pellissery, Jallikattu is placed in a little village in Central Kerala that dissolves into a state of panic when a buffalo, taken for slaughter, escapes. Under 95 minutes, the film based on S Hareesh’s short story Maoist keeps you on the edge with its scintillating wild hunt between man and the beast, and how the boundaries eventually get blurred in the process, making one empathise with the beast. With an ensemble cast of actors, headed by Antony Varghese and Chemban Vinod, the film, with music by Prashant Pillai and framed by Gireesh Gangadharan, is ideal for a theatre experience.

Kumbalangi Nights (Amazon Prime Video India)

Framed in the backdrop of an island village, Kumbalangi in Central Kerala, the film, directed by Madhu C Narayanan and written by Syam Pushkaran, is about a family of four dysfunctional brothers (Soubin Shahir, Sreenath Bhasi, Shane Nigam) who eventually find the rhythm, security, and love between themselves with the help of men and women they befriend. There is an interesting parallel track with a man (Fahad Faasil) who considers himself as the “complete man” and his so-called “normal” family consisting of wife, sister-in-law, and mother-in-law. With sterling performances, cinematography, and brilliant writing, the film is easily one of the best releases this year.

Uyare (Netflix)

Pallavi Raveendran is an aspiring pilot whose dreams come crashing down after an acid attack. Scripted by Bobby-Sanjay, directed by debutant Manu Asokan, headlining Parvathy, and supported by Asif Ali and Tovino Thomas, the narrative keeps us involved in Pallavi’s tumultuous life. It covers her teenage years, her passion to fly airplanes, her toxic boyfriend, and how despite a setback, she manages to get a grip on her ambitions.  With powerful performances and smart writing, Uyare is an empowering watch.

Ee Ma Yau (Amazon Prime Video India)

A satire on death, Lijo’s most critically acclaimed work is set in a fisherman’s village in South Kerala, where the death of Vavachan Maestri sets the tone of the film. He has instructed his son Eeshi (Chemban Vinod) to give him a fitting funeral. The narrative walks us through his efforts to make it happen. Superbly executed, brilliantly framed by Shyju Khalid, and with fabulous performances, the film is raw, witty, and multi-layered.

Virus (Amazon Prime Video India)

Inspired from events that led to the Nipah virus outbreak in Kerala, Virus, directed by Aashiq Abu, meticulously and thoroughly researched and scripted by Muhsin Parari, Suhas and Sharfu, is perhaps the first-ever medical thriller in Malayalam cinema. With a great ensemble cast, music, and cinematography, the film is a riveting watch.

Unda (Amazon Prime Video India)

Khalid Rahman places his second film in the maoist lands of Chhattisgarh, where a group of Kerala cops, led by CI Manikandan (Mammootty), have been assigned election duty. With distinct sketches for each of the 10 cops, and a narrative laced with humour and emotions, topped by Mammootty’s subtle brilliance, Unda is an essential watch.

Ishq (Amazon Prime Video India)

A young couple’s secret rendezvous at night turns out to be nightmarish as they get accosted by two creepy strangers, who harass them in the guise of moral policing. But the young man refuses to take things lying down, and decides to pay one of them back in the same coin. Directed by debutant Anuraj Manohar, Ishq is an interesting watch, powered by its performances (Shine Tom Chacko, Shane Nigam).

June (Hotstar)

The coming-of-age tale of a girl, June, directed by debutant Ahammed Khabber, has a very nostalgic, fun, and relatable narrative as well as characters. Rajisha Vijayan puts in an effective performance, going through the two different stages of her life with conviction. She is ably supported by a bunch of debutant and veteran actors.

Varathan (Hotstar)

Directed by Amal Neerad, scripted by Suhas-Sharfu, the film begins in Dubai where Abin and Priya live. They decide to shift to Munnar when the former loses his job. At the decadent estate, the couple are made uncomfortable by the prying eyes of the villagers (addressing voyeurism). When Priya gets assaulted by her former classmates, the mild-mannered Abin decides to take his revenge. With fine performances (Fahadh Faasil, Aishwarya Lekshmi, Sharfuddin), and a brilliantly executed climax, Varathan is a surprise from the director known for his stylishly turned action thrillers.

Sudani from Nigeria (Netflix)

Zakariya debuts with a cracker of a film set in the backdrop of Malappuram, about a Nigerian sevens football player who, after an injury, finds himself at the home of his manager, lovingly tended to by the mother, and ends up forming a lifelong bond with the family. With terrific performances, great music, and a heart-warming milieu, the film is a must-watch.

All images from Twitter.

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David Warner picks Rohit Sharma to break Brian Lara's 400 not out Test record, recalls Virender Sehwag's encouragement

Adelaide: Dashing Australian opener David Warner believes India's Rohit Sharma has the firepower to surpass West Indies great Brian Lara's record 400 not out in a Test match.

Warner, who scored his maiden triple ton (335) in five-day cricket during the ongoing second Test against Pakistan, was just 65 runs shy of breaking Lara's record when skipper Tim Paine decided to declare the innings at 589/3.

Though he couldn't break the record, Warner believes it is possible to surpass the 400-mark and backed Rohit to achieve the feat in near future. Lara's 400 not out is the highest individual score in Test cricket which came against England in 2004.

"Yeah, look, I think it's about the person himself. We've got long boundaries, it is quite difficult at times. When fatigue sets in, it's very hard to try hard and throw your hands at it," Warner told Fox Sports.

"At the end, I tried to run twos to lift the ante because I couldn't actually think like I could clear the ropes.

"I think, one day, if I've to name a player, I reckon it could be Rohit Sharma. Definitely."

Considered one of the best batsmen in ODI cricket, Rohit couldn't achieve much success in Tests initially but the Mumbaikar made a successful comeback to the longest format when he was included as an opener for the three-match series against South Africa.

As an opener in his first Test, Rohit scored twin-centuries against South Africa and was eventually named the Man of the Series.

Warner, who surpassed Sir Don Bradman's highest Test score of 334 during his unbeaten knock in the ongoing Day-night Test, also revealed that he had doubts about his Test career and it was former India opener Virender Sehwag, who had predicted that he would be a better Test batsman than a T20 cricketer.

"When I met Virender Sehwag while playing for Delhi in the IPL, he sat down to me and said I will be a better Test player than a Twenty20 player. I said 'you're out of your mind, I've not played many first-class games'," Warner told reporters.

"He always said 'they will have slips and gully, covers open, mid-wicket stay there, mid-off and mid-on will be up, you can get off to a flier and sit there all day and you'll be picking them all off'.

"That's always stuck in my mind, it sounded very easy when we were discussing then."

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Kettiyollaanu Ente Maalakha movie review: Asif Ali is terrific in a largely path-breaking, partly debatable rape saga

Commercial Malayalam cinema has for a while now been dominated by an ugly, toxic masculinity, with storytelling that normalises domestic violence, packs casual misogyny into comedies, portrays men as omniscient, omnipotent beings and glorifies male aggression. Kamal's Aami in 2018 was a rare mainstream film that expressed discomfort with a man's selfishness in his marital bed, but it avoided outrightly condemning him. In a less mainstream space, last year's direct-to-Eros-Now release Ottamuri Velicham (The Light In A Single Room) had no such qualms - while telling the story of a woman being brutalised by her husband, director Rahul Riji Nair made no bones about his belief that his hero's sense of sexual entitlement towards his wife amounted to rape.

Kettiyollaanu Ente Maalakha (My Wife Is My Angel) examines another aspect of this social malaise. When a male child is brought up to treat women as lesser beings, it is not hard to imagine how his mindset will be shaped by an India where sex education still remains largely taboo, where very few families have open discussions on sex, and where many boys get their earliest lessons on the subject from other (twisted or equally ignorant?) boys and/or the exaggerations of pornography. Kettiyollaanu Ente Maalakha is about the effect our society has on another kind of man: a fellow who has been raised to respect women but whose interactions have been limited almost entirely to the mother and four sisters he loves.

A still from Kettiyollaanu Ente Maalakha. Image from YouTube

Asif Ali plays that young man, Sleevachan, a busy 35-year-old farmer in a mountain village in Kerala who has long abjured marriage. When he decides to get himself a wife one fine day, it is not for himself at all but because he does not want his ageing mother to be alone at home while he is out at work. Sleeva is a hard-working chap and well-liked in the community. He soon finds a bride and thence arises his trauma. Having volunteered to walk down the aisle with Rincy (Veena Nandhakumar), he panics because he is clueless about physical intimacy with a woman and overcome by a debilitating shyness.

When Sleeva confides in a priest, he is told that once he and Rincy get close he will instinctively know what to do. Errm, but what about the...uh...mechanics of intercourse? This conservative rural community follows a don't-ask-don't-tell policy on sex. The crude misinformation from Sleeva's misogynistic drinking companion serves no educational purpose though it is the most graphic that anyone gets with him.

In many ways, Kettiyollaanu Ente Maalakha is pathbreaking. It deals with a grave theme but has a light touch, features a mainstream male star and does not disguise its mainstream commercial aspirations. In a country where most people have warped ideas about consent even between strangers, and the general assumption is that marriage grants a man a life-long licence for sex with his wife whenever, wherever and in whichever way he wants it, her wishes be damned, director Nisam Basheer and writer Aji Peter Thankam have the vision to deal with the issue of a woman's consent within marriage.

(Spoiler alert for this paragraph) Kettiyollaanu Ente Maalakha goes a step further and underlines the point that consent must be given at every instance - just because a wife is well disposed to her husband and has initiated physical contact with him on previous occasions, does not at all mean that he is allowed to force himself on her. When such force is shown to be used in the film, it is clearly called "rape" and unequivocally described as a legally punishable offence. (Spoiler alert ends)

When it starts out, Kettiyollaanu Ente Maalakha does not offer any indication that it will take such a serious turn. It is at first gently amusing and endearingly real as Basheer establishes the close bond Sleeva shares with his large extended family and the bonhomie among the villagers. When the going gets grim, the director ensures that the narrative does not trivialise the issues at hand. The reins do slip from his hands a couple of times - both instances involve a comically nosy old woman: such people of course exist in real life and such circumstances are likely to arise, but the point is the presentation itself in both cases is jarring in comparison with the sensitive tonal balance maintained in the rest of the film. That said, these shifts in tone pass off in seconds and it is clear they are not intentional.

The significance of Kettiyollaanu Ente Maalakha lies in its position on prevalent social notions of consent in perpetuity in the matter of sexual relations, the acknowledgement that marital rape is common in our society and the sight, however improbable it may be, of almost an entire community being opposed to it. Improbable the latter certainly is, but not impossible, and I will take a suspension of disbelief any day over the poisonous misogyny that big-budget men-centric Malayalam cinema has thrust on us for too long now. Remember that just weeks back the repeated impregnation of an unwilling wife by her husband in Aadya Rathri was brushed aside jokingly as a mark of his love for her rather than what it is: marital rape.

Sleevachan's innocence does take some time to sink in because even if his friends were unusually reticent, it requires a stretch of the imagination to believe that the couple of jerks who he also hangs out with never volunteered details of their sexual encounters. Improbable, but again not impossible. There is more ignorance out there than we realise. Look around your own social circle and ask how many seemingly knowledgeable, sexually active men are aware that condoms and birth control pills are not 100 per cent effective, ask how many couples think having unprotected sex "just once" cannot result in a pregnancy. It happens even in more sexually permissive societies than ours. A Sleevachan could, therefore, exist.

(Spoiler alert for this paragraph) The episode that requires some consideration is the one in which Sleeva behaves uncharacteristically with Rincy. Is such a dramatic momentary lapse possible? Yes, if you take into account the "manaprayasam" he spoke of to his priest, the combined weight of social expectations, peer pressure and wrong guidance. (Spoiler alert ends)

Kettiyollaanu Ente Maalakha is not perfect. At one point there is talk of counselling for Sleevachan, but no sessions are shown and the screenplay seems to take the line that human instincts ultimately were indeed all that was needed. Given the circumstances, the film also opts for the safest possible ending. And it is important to point out that though its choice of theme is commendable, Kettiyollaanu too is a man-centric take on what is essentially a man-woman issue. The woman here is not marginalised, but she is certainly secondary. Nothing illustrates this better than the scene in which Sleevachan sits before Rincy finally confiding in her about his confusions, and the camera focuses on him while showing her from only the forearms down. Really? Expected better from you, Team Kettiyollaanu.

Despite this, the film remains path-breaking because it takes a stand against behaviour that Indian cinema at large and Malayalam in particular usually ignores or trivialises. Kettiyollaanu Ente Maalakha's courage and humanity are what recommend it most, though its naturalism, bird's eye view of local customs and top-notch acting come close.

Ali is off the charts with his interpretation of a rustic, romantically awkward youngster. After Uyare, this is his career best performance. What an exceptional year for an actor who too often has wasted himself on generic, largely uninspiring films.

Nandhakumar is phenomenal too as a new wife whose confusion over her husband's initial oddness belies a quiet confidence.

My pick of the credible supporting cast is the beautifully dignified Manohari Joy who plays Sleevachan's mother.

William Francis' music is a bonus, smoothly kneaded as it is into the narrative. That folksy number about Sleevachan's marriage is lovely.

DoP Abilash Sankar, whose neglect of a woman in one scene I just mentioned, plays a crucial role elsewhere in the delicate, non-exploitative handling of sexual violence. This is why Kettiyollaanu Ente Maalakha is so important - because male behaviour that is considered commonplace in our society is treated here as exactly what it is: a crime. In doing so, Basheer and Thankam have contributed to an essential conversation in a non-esoteric fashion, however debatable certain aspects of their storyline maybe.

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Hotel Mumbai box office collection: Dev Patel's drama on 26/11 terror attacks earns Rs 2.78 cr in two days

Hotel Mumbai, directed by Australian filmmaker Anthony Maras, released in India on 29 November (Friday). The drama earned Rs 1.08 crore on its opening day and Rs 1.70 crore on Day 2, taking its total domestic box office collection to Rs 2.78 crore. The film has attracted audiences primarily from multiplexes in metropolitan cities, according to trade analysts.

Due to its limited release in the country, Hotel Mumbai has been unable to garner impressive numbers at the box office.

Here are the latest box office figures

#HotelMumbai gathers speed on Day 2... High end multiplexes of metros are contributing largely... Day 3 should only get better... 1.08 cr, Sat 1.70 cr. Total: ₹ 2.78 cr. #India biz. All versions.

— taran adarsh (@taran_adarsh) December 1, 2019

Hotel Mumbai recounts the 2008 attack on Mumbai’s luxury Taj Mahal Hotel, where dozens of guests and hotel workers were killed during a three-day siege carried out by Pakistan-based Islamist militants. Dev Patel, Anupam Kher, Armie Hammer, Jason Isaacs and Nazanin Boniadi make up the film's cast.

The film's release was postponed from March to October and then finally to November. It had earlier failed to find any distributors in the country, owing to its "sensitive nature."  Netflix had also dropped the film from its roster as it's embroiled in a legal battle with Plus Holdings, a Dubai-based company, reports the daily. Plus Holdings had moved the Bombay High Court filing a petition to seek injunction against Netflix from screening Hotel Mumbai. They claimed that they had the rights to release the movie in SAARC countries.

Press Trust of India recently reported that Hotel Mumbai will soon be made available to visually impaired individuals. The makers have associated with the XL Cinema app to give a wholesome cinematic experience to the visually impaired audience.

Hotel Mumbai is screening in theatres in Hindi, English, Tamil and Telugu.

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Downton Abbey: Producer reveals conversations underway for a possible sequel to the movie

Downton Abbey producer Gareth Neame has revealed that the conversations about a possible sequel are already happening.

The Downton Abbey movie released in September, three years after the show ended on television.

"We're working on what the story is, and when we might be able to make it. But it's the same as the first time around: We have to try to get everyone back together again. And that was very challenging," Neame told The Hollywood Reporter.

The movie adaptation featured the return of many favourites from the original cast, including veteran actor Maggie Smit as indomitable Violet Crawley, Laura Carmichael as Lady Edith Crawley, Joanne Froggatt as Anna Bates, Hugh Bonneville as Robert Crawley, Allen Leech as Tom Branson, Elizabeth McGovern as Cora Crawley and Michelle Dockery as Lady Mary Crawley.

Neame said the team started vaguely thinking about the second film closer to the release of the first movie.

"But we were kind of holding our breath. The reaction to the film, the press tour in the US and the build-up to release were so strong that we'd been thinking about it. And then it was clear from the first weekend that this was worth taking very seriously.

"It's not one of those shows that came from TV and then flopped in the cinema. So I think that will give everyone comfort that, yes, we know it works. But the challenge will be, is everyone available at the same time? Can we make deals with them? That will be the challenge," he added.

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Attack: John Abraham's upcoming action thriller, also starring Jacqueline Fernandez, to release on 14 August, 2020

John Abraham is starring in and producing his next project, an action film titled Attack. Directed by debutant Lakshya Raj Anand, it is slated to release on 14 August, 2020. The narrative will reportedly revolve around a hostage crisis and will feature Abraham as a lone ranger who ultimately saves the day.

Attack is produced by Dheeraj Wadhawan and Ajay Kapoor's Kyta Productions along with John's JA Entertainment. The producers had previously collaborated on Parmanu and Romeo Akbar Walter(RAW). Alongside the announcement, the makers also shared Abraham's first look from the film. He can be seen wielding a weapon in the image.

Jacqueline Fernandez and Rakul Preet will be seen in supporting roles.

Here is the announcement

#IndependenceDay weekend yet again for John Abraham... #Attack to release on 14 Aug 2020... Stars John Abraham, Jacqueline Fernandez and Rakul Preet... Directed by Lakshya Raj Anand... PEN Studios [Jayantilal Gada], JA Entertainment [John Abraham] and Ajay Kapoor presentation. pic.twitter.com/5qkDfwSSdm

— taran adarsh (@taran_adarsh) November 30, 2019

Abraham's last serious, nationalist sentiment-driven films Satyameva Jayate (2018) and Batla House (2019), were also released during the Independence Day week.

While talking about the upcoming action film, Abraham told Indo Asian News Service, "At JA Entertainment, we believe in 'content first'. It is our endeavour to push the envelope and produce films that entertain and have something significant to show to the increasingly discerning audience. Attack is a taut, interesting thriller with a strong storyline and a genre that I love. I am happy that Dheeraj and Ajay are on board this very interesting project."

Abraham's recent project was the comedy Pagalpanti, directed by Anees Bazmee. The film is produced by Bhushan Kumar and Krishan Kumar’s T-Series & Kumar Mangat Pathak and Abhishek Pathak’s Panorama Studios, and co-produced by Vinod Bhanushali, Shiv Chanana, Aditya Chowksey, and Sanjeev Joshi. Anil Kapoor, Arshad Warsi, Ileana D'Cruz, Kriti Kharbanda and Pulkit Samrat are also part of Pagalpanti's cast.

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From Goodfellas to The Departed to The Irishman: Martin Scorsese's 10 greatest films, ranked

The Marvel vs Martin Scorsese debate has raged on for long enough. There has been backlash — and then backlash to the backlash — over the celebrated director's comments. Of course, it has not stopped the rest of Hollywood's old guard and new from chiming in on what is and is not cinema.

With the release of The Irishman on Netflix, we hope to turn the heated debate aside to reflect on the work of the patron saint of contemporary cinema. Scorsese has continued one of the hottest streaks in cinematic history, delivering many a masterpiece in the last five decades or so. Even some of the lesser films in his back catalogue have endured longer than most filmmakers' career-best output. So it is easy to see why he inspires such devotion. But where does his latest stack up?

To celebrate the storied career of the legendary filmmaker, we present an entirely subjective — we repeat subjective — ranking of his defining work.

(Please note: we are only appraising his narrative feature films, not his documentaries)

10 | Bringing Out the Dead (1999)

Bringing Out the Dead is probably the least re-watched of Scorsese's collaborations with screenwriter Paul Schrader. But 20 years on, it feels like a mood more than a movie as it is emblematic of a work culture that has caused stress and burnout to reach epidemic levels. Frank Pierce (Nicolas Cage), an overworked paramedic, is dragged over the edge of sanity as he is forced to work the soul-crushing and spirit-breaking graveyard shift in Hell's Kitchen. He feels jinxed as he has not saved a dying patient in so long he has started to wonder if he is a saviour or an angel of death. Haunted by the ghosts of those he could not save, Pierce hopes to save one dying soul so he can save himself. Scorsese internalises Pierce's frustrations and externalises his thoughts as we see — and hear the voices of — the living, the dead, and those stuck in between. He traps us along with Pierce in the nightmare of working in a thankless industry in an indifferent city. But it is still a beautiful nightmare as streaks of red and blue ambulance lights bleed into the city streets abstracting it into an urban delirium. Overall, Bringing Out the Dead is a case of parts being greater than the sum.

9 | The Departed (2006)

The intricate plot, kinetic editing, and impeccably curated music choices of The Departed turn it into one Scorsese's most purely joyous and wildly entertaining films. Scorsese takes the Hong Kong crime thriller Infernal Affairs, and deftly relocates it to Boston, adding a more richly layered study of the fractured Irish-American identity. Though he does not break new ground, he fine-tunes his flair for gangster thrillers for a more mainstream audience. He sets up the movie perfectly with an unforgettable establishing scene: we see a silhouette of Jack Nicholson's character Frank Costello, who delivers a monologue as money changes hands, a young boy gets how-to-be-a-gangster 101 lessons, and a couple are shot in the head — all of which is soundtracked to 'Gimme Shelter'. The film tells the story of an undercover cop (Leonardo DiCaprio) and a mafia mole (Matt Damon), and the crisis of consciousness that arises from leading double lives. As each tries to uncover the other's identity before they are both exposed, the body count and plots grow into a substantial-sized cemetery. But it keeps you guessing about their true motives down to its final moments.

8 | The Age of Innocence (1993)

Scorsese trades in mobsters and guns for manners and gossip, bringing an intimate immediacy to his faithful adaptation of Edith Wharton's 1920 novel of the same name. This pre-tabloid melodrama works as both a character piece and a broader glimpse into the absurd conflicts between the old rich and the new. Newland Archer (Daniel Day-Lewis) finds himself entangled in a love triangle between the more Bohemian but married Countess Ellen Olenska (Michelle Pfeiffer), and her more conformist cousin May Welland (Winona Ryder). These affairs of love, tradition, and social politics are however handled with great dramatic discipline as Day-Lewis, Pfeiffer, and Ryder bring the truths and telling details of Wharton's prose on screen without resorting to histrionics. Their character arcs are weaved together into a cohesive whole that provides both insight and emotional payoff. Its subtle tone masks a deeply submerged passion that surfaces in a few searingly beautiful moments. To quote the great Roger Ebert, "I have seen love scenes in which naked bodies thrash in sweaty passion, but I have rarely seen them more passionate than in this movie, where everyone is wrapped in layers of Victorian repression."

7 | Casino (1995)

Casino uses — and at times abuses — the template of its breakthrough predecessor Goodfellas, and delivers a near-equal version of the gangster epic. Though the setting shifts from New York to the "morality car wash" that is the Sin City of Las Vegas, it still feels like a spiritual sequel to Goodfellas: both are written by Nicholas Pileggi; both are real-life tales of a crime syndicate's rise to power and subsequent fall from grace; and both feature Robert De Niro as a more level-headed mob figure to Joe Pesci's more psychotic character. Only this time around, Pesci's hot-headed behaviour and sociopathic disdain costs him dearly as he becomes the casualty of a singularly unpleasant moment of ultra-violence. After he is forced to watch his fellow Mafioso indulge in some baseball batting practice with his brother's head, they repeat the process beating him close to death before burying him alive. However, behind its freewheeling brutality, Casino is still a great cinematic examination of the criminal mind and an accurate depiction of Las Vegas as a "Disneyland" for adults. 

6 | The Irishman (2019)

Returning to the fruitful stomping ground of gangster films, Scorsese reunites with De Niro and Pesci, and reconnects with the genre that earned him his reputation. Only The Irishman is a self-reflexive work as he reinterprets familiar stories in a new canvas. You can sense a lifetime's worth of his films and mafia mythology embedded in its layers. If Goodfellas takes a Steadicam one-take stroll through the Copacabana to showcase gangster life in all its sordid glamour, The Irishman gives you a shot of a gun sinking into the depths of a river where hundreds of other disposed firearms rest after having served their purpose. Perhaps, some of these were used by gangsters from other Scorsese films as they spread misery and death to everyone and everything they touched. So, it is an elegy to gangster films, a requiem for the American Dream. It is a film made under the retrospective gaze of an auteur still at the peak of his directorial powers.

Studiously researched and gorgeously shot, The Irishman tells the story of alleged mob hitman Frank Sheeran (De Niro), his friendship with mafia boss Russell Bufalino (Joe Pesci), and his involvement in the disappearance of union boss Jimmy Hoffa (Al Pacino). But Scorsese turns this gangster saga into something grander and more intimate than his previous films. It is in many ways an antithesis and a fitting bookend to the testosterone-filled gangster epics of past.

5 | The Wolf Of Wall Street (2013)

Scorsese and screenwriter Terence Winter abridge Wall Street stockbroker Jordan Belfort's memoir down to its most garish elements. Belfort (DiCaprio) and his employees swindled millions of dollars from hapless investors through a combination of securities fraud and market manipulation to fund his decadent lifestyle of yachts, hookers, drugs, and midget-throwing contests. The Wolf of Wall Street offers a nightmarish perversion of the American dream as we see the rich go to hedonistic extremes in their pursuit of happiness. Scorsese intentionally makes all the sinful indulgences uncomfortably alluring — even inappropriately comical — in a clear condemnation of unbridled capitalism and the narcissistic behaviour it breeds. And it is anchored by an unhinged DiCaprio, who supercharges the entire film with a frenetic alpha-male energy as he takes you on a joy ride into the most decadent depths of humanity. Seeing a drooling Quaalude-impaired DiCaprio crawl his way to the car and use his foot to open the door is alone worth the price of a movie ticket.

4 | The King of Comedy (1982)

In The King of Comedy, a wannabe comic named Rupert Pupkin (De Niro) becomes dangerously obsessed with his idol, late-night TV host Jerry Langford (Jerry Lewis) — and kidnaps him in order to ensure a TV spot. This criminally underseen gem re-entered the conversation recently owing to its striking influence on the plot of Todd Phillips' Joker. But Scorsese's satire is far more revelatory in its criticism of media-encouraged celebrity worship. He also takes an unsparing look at Rupert's sense of entitlement that the world owes him 15 minutes of fame, and he will have it at any cost. It is sociopathic behaviour as performance art, and De Niro is simply exceptional in this outrageous comic fantasy that only seems to get better with each viewing.

3 | Goodfellas (1990)

On another day, this film could easily have been No 1 on the list. Its influence is immeasurable as it is one of the slickest written and most quotable films. Scorsese synthesises the New York setting, the morally ambiguous characters, and their mafia machismo with such gusto that, once seen, you never forget it. He immerses us in the schemes and routines of these tough-talking wise guys who have now become oh-so-familiar in a sub-genre filled with the rip-offs it has since inspired. Tracing the rise and fall of Henry Hill (Ray Liotta), whose only ambition as a kid was to be a gangster, Goodfellas explores the allure, logistics, and consequences of criminal life. De Niro and Pesci make for a dynamic duo, carefully balancing believability with theatrics in their equally bravura performances as ambitious mobsters. All this and more has made Goodfellas an enduring cultural touchstone and its depiction of the cut-throat world of organised crime in the US, second only to The Godfather.

2 | Raging Bull (1980)

Scorsese's film about former boxing champion Jake LaMotta (De Niro) is arguably the finest biopic — sports or otherwise — in film history. Unlike most other biopics, Scorsese refuses to give us a straightforward objective reality of his subject. Instead, he paints a more subjective experience of the world as seen through the eyes of LaMotta, a man whose violent masculinity spills outside the ring into his home, ultimately wrecking both his personal life and professional career. Scorsese illustrates his descent by communicating his emotional wavelength with lighting and design of sets. The black-and-white photography not only deglamourises its subject but adds a muted softness to his internal conflicts. By filming the fight scenes from inside the ring, he not only builds an intimacy with the boxers but also captures the physical and psychological components of the fight. He also used smoke to create hazy images that emphasised LaMotta's punch-drunk consciousness. Hats off to Thelma Schoonmaker for editing these images seamlessly into a veritable masterpiece.

1 | Taxi Driver (1976)

After the very first viewing, Taxi Driver lingers in the mind for longer than most films. Travis Bickle (De Niro) is a 26-year-old Vietnam War veteran with delusions of grandeur fuelled by frustrations with his socio-economic standing and sense of white male privilege. He is also a man with a plan. So, he begins a bloody path of vengeance, directing his anger at his ex-girlfriend Betsy (Cybil Shepherd), a Senator (Leonard Harris), and all the “scum” of the world. He also believes his redemption lies in saving a young girl named Iris (Jodie Foster) from a life of prostitution. In his mind, these actions are justified by their heroic intent and his own moral code. This rationale for American masculinity stems from the economic equality and social advancement promised by the so-called American dream. As Travis feels cheated out of this promise, he feels he has to lash out violently. Add the alienation, insomnia, and Post-Traumatic Stress Disorder into the equation, you have got yourself a ticking time bomb. When he stares into the mirror, it is like reality and fantasy are both pointing a gun at him. So Scorsese and Schrader confront this quintessential American ideal of the self-made, rugged individualist in pursuit of the American dream, and its potentially tragic consequences. But it is also a haunting character study of the human condition of loneliness and its devastating effects on the psyche. It is a film that demands multiple viewings, and you discover something new to cherish, ponder, and admire on each occasion. Michael Chapman’s cinematography turns New York into a noirish Gomorrah, and Bernard Herrmann's last score is as phenomenal as his first. Scorsese’s Taxi Driver is simply cinema at its purest.

All images from YouTube.

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Hotel Mumbai: Dev Patel, Anupam Kher's film to be made available to visually impaired viewers

The makers of Dev Patel and Anupam Kher-starrer Hotel Mumbai have announced that they are making the film available to the visually impaired with a help of an application.

Hotel Mumbai, directed by Australian filmmaker Anthony Maras, released in India on Friday. The movie is based on the 2009 documentary Surviving Mumbai.

The makers have associated with the XL Cinema app to give a wholesome cinematic experience to the visually impaired audience.

"It's important to make this film available to every Indian so that the message makes its way to more people," Shariq Patel, CEO, Zee Studios, said in a statement.

Presented by Zee Studios and Purpose Entertainment, Hotel Mumbai has been released in India in Hindi, English, Tamil and Telugu.

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Bigg Boss 13 Day 57 highlights: Rashami, Vishal confess to theft; Devoleena leaves show due to medical reasons

On Saturday's Bigg Boss 13 Weekend ka Vaar episode, host Salman Khan made his entry on stage to 'Saathiya Tune Kya Kiya' from his 1991 film Love. He thanked the audience and fans for the great viewership that the show had garnered.

The camera then took viewers to the Bigg Boss house, where the contestants were asked to gather. Bigg Boss told them that the 13th season of the reality show is the most successful edition so far. Bigg Boss added that the makers have planned to extend the show by five more weeks, exciting most of the housemates.

Following this Rashami Desai and Vishal Aditya Singh are summoned to the confession room, where they are asked to tell everybody how they consumed all the pasta that was part of the winning team's luxury budget. Bigg Boss then said that all luxury items have to make their way to the storeroom. Vishal and Sidharth Shukla argue over the confession.

Here is a snippet from the episode

Masti mein hui chori ki @TheRashamiDesai aur @VishalSingh713 ko mili ek sazaa, aur hua pura ghar unke against!
Dekhiye @BeingSalmanKhan ki yeh surprise entry, tonight at 9 PM on #WeekendKaVaar!

Anytime on @justvoot@Vivo_India #BB13 #BiggBoss13 #BiggBoss #SalmanKhan pic.twitter.com/UZg9eN5w2s

— Bigg Boss (@BiggBoss) November 30, 2019

Salman addressed the theft incident and rebuked Vishal and reminded him to follow the rules. He also hinted that he may not host the extended period of Bigg Boss 13. He told the contestants that they put their safety in line and chose Sidharth as house captain.

Salman called Sidharth the king and asked him to tag the contestants as chess pieces. Shehnaaz Gill was haathi (rook), Rashami was ghoda, Paras Chhabra was oont (bishop), Hindustani Bhau was called the pyada (pawn), while Vishal was labelled as the wazir (queen). "Pehle Rashami mujhe wazir lagti thi, but kabhi bani nahi (At first I thought Rashami was a wazir but she never reached that point)," he had said.

After the viewer voting round, Salman announced that Mahira Sharma and Paras were the most likely in danger of eviction from the Bigg Boss house.

Akshit Sukhija and Mahima Makwana make an appearance to promote their show Shubharambh. 

Before the show ended, Salman reveals that Devoleena Bhattacharjee will have to exit the house on doctor's advice. He told her that everyone hoped she recovered soon and returned to the show. After this announcement, Rashami burst into tears, while Devoleena asked her to play the game well.

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Dabangg 3 song Munna Badnaam Hua: Salman Khan, Pradhudeva match steps to the spin off version of original song

After teasing fans with several teasers and pictures, the makers of Dabangg 3 finally released the much-anticipated song from their upcoming film, 'Munna Badnaam Hua.'  The song features Salman Khan in his cult-favorite cop avatar Chulbul Panday, matching steps with Loveyatri actress Warina Hussain.

The song is a gender spin off the 2010 hit song 'Munni Badnam Hui' from Dabangg that featured Malaika Arora.

Composed by Sajid-Wajid, the song is crooned by Badshah, Kamaal Khan, Mamta Sharma. Munna Badnaam Hua’s video begins with Chulbul’s swaggy entry as he joins Hussain on the dance floor. The highlight of video is a face-off between Khan and Dabangg 3 director Prabhudeva. Dressed in similar outfits, the duo perform a revamped version of the signature Dabangg belt step, adding it to list of hook steps from the film. The song is choreographed by Vaibhavi Merchant.

Check out the song here

Humaare dil se ye tohfaa aap sab keliye! Jao, or dekho ki #MunnaBadnaamHuapar kaise!https://t.co/zeRQriN6kG @arbaazSkhan @sonakshisinha @saieemmanjrekar @PDdancing @KicchaSudeep @nikhil_dwivedi @Warina_Hussain @SajidMusicKhan @wajidkhan7 @Its_Badshah @imKamaalKhan

— Chulbul Pandey (@BeingSalmanKhan) November 30, 2019

Check out pictures from the song launch ceremony

The stage is all set. Are you ready for this year's biggest and the most badass song? #MunnaBadnaamHua Click here to watch the premiere - https://t.co/52caVWUnn8@BeingSalmanKhan @arbaazSkhan @sonakshisinha @saieemmanjrekar @PDdancing @KicchaSudeep @nikhil_dwivedi pic.twitter.com/M4pLv7dLRh — Salman Khan Films (@SKFilmsOfficial) November 30, 2019

Chulbul Pandey goes behind the mic, sings a song live for the audience. #MunnaBadnaamHua

Click here to watch the premiere - https://t.co/52caVWUnn8@BeingSalmanKhan @arbaazSkhan @sonakshisinha @saieemmanjrekar @PDdancing @KicchaSudeep @nikhil_dwivedi @Warina_Hussain pic.twitter.com/o4h4xhcXkm

— Salman Khan Films (@SKFilmsOfficial) November 30, 2019

Dabangg 3 will see Sonakshi Sinha reprise her role of Chulbul Pandey's wife Rajjo. Arbaaz Khan will once again play Makkhi. Vinod Khanna's brother Pramod will play Prajapati in the third instalment. Dimple Kapadia will reportedly reprise the role of Chulbul Pandey's mother Naini Devi, and appear in a flashback sequence. Kannada actor Kiccha Sudeep plays the antagonist Balli.

This cop comedy will mark the Bollywood debut of Saiee Manjrekar. According to NDTV, Saiee will play the love interest of a young Chulbul.

The film is scheduled to release on 20 December in Hindi, Kannada, Telugu, and Tamil.

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Serie A: Mario Pasalic's brace helps Atalanta win to stay in Champions League qualifying places; Torino defeat Genoa

Rome: Mario Balotelli showed flashes of form as he returned to Brescia’s lineup after sitting out a game due to disciplinary reasons. But it was another Mario who made the biggest impact in a regional Serie A derby with Atalanta on Saturday.

Mario Pašalic scored either side of halftime and Atalanta won 3-0 to stay in the Champions League qualifying places.

Balotelli hit the post early in the second half and had several other chances. Still, last-placed Brescia lost its sixth straight and 10th in 13 matches this season.

Brescia hasn’t scored, and has conceded 10 in Fabio Grosso’s three matches in charge since replacing Eugeno Corini.

“We played with fear and if the opponents smell timidity they take advantage of it,” said Grosso, who is coaching in Serie A for the first time. “I haven’t been here for very long. It’s going to take time and hard work to put something worthwhile together.”

Atalanta moved level on points with fourth-placed Cagliari and fifth-placed Roma — with the top four finishers qualifying for the Champions League.

Pašalic was left unmarked to head in Brescia’s opener and scored his second with a slick backheel flick from close range.

Josip Ilicic scored Atalanta’s third by finishing off a counterattack in added time.

Pašalic also hit the post, as did teammate Ruslan Malinovskyi.

Other results

Torino won at Genoa 1-0 with a second-half header from Gleison Bremer after the hosts hit the woodwork twice.

Lecce also won away over Fiorentina 1-0 with a diving header from Andrea La Mantia.

Fiorentina was without injured forward Federico Chiesa, and Franck Ribéry exited at halftime following a knock.

Fiorentina was whistled off the pitch following its third straight loss.

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New Zealand vs England Highlights, 2nd Test Day 3 at Hamilton: Joe Root slams ton, England trail by 106 runs before rain abandonment

Toggle between the tabs above to switch between quick scorecard, full scorecard and ball-by-ball commentary

Day 2 Report: Daryl Mitchell made 73 in his first Test innings on Saturday to put New Zealand in a strong position after the second day of the second Test against England.

He shared a 124-run sixth-wicket partnership with wicketkeeper BJ Watling which helped New Zealand reach 375 as they batted first after winning the toss.

At stumps, England was 39-2 after 18 overs. Dom Sibley (four) and Joe Denly (four) were dismissed inside the first 10 overs, leaving Rory Burns and out-of-form captain Joe Root to battle to stumps against an exacting New Zealand attack.

Burns was dropped twice, by Ross Taylor at slip off Matt Henry when he was 11 and by Jeet Raval at mid-wicket off Tim Southee when he was 20, but he survived at 24 not out to bat again on Sunday. Root is under pressure both for his own lack of form and England's and he toughed it out to stumps when he was on four.

The early part of the second day belonged to England who, after New Zealand resumed at 173-3, removed both overnight batsmen, Tom Latham for 105 and Henry Nicholls for nine, within nine overs.

That brought Mitchell out for his test debut beside his North Districts provincial teammate BJ Watling, who scored 205 in New Zealand's only innings of the first Test to lay the foundation for its win by an innings and 65 runs.

The pair assembled a partnership which occupied all but nine overs of the first session and all but one ball of the second. Watling was out for 55 to the last ball before tea after he and Mitchell had defied the England attack for 53 overs and lifted New Zealand from 191-5 to 315-6, a strong position after having been sent in.

New Zealand resumed at 173-3 after the shortened first day in which almost all of the final session was lost to rain.

Latham, 101 not out overnight, added four runs before being bowled by Stuart Broad. He likes to leave close to his off-stump but misjudged a ball angled in from around the wicket and was bowled without playing a shot.

Nicholls hooked a short ball from Sam Curran to Broad on the fine leg boundary.

The next wicket didn't fall for almost half a day as Watling and Mitchell built an impressive partnership.

Mitchell reached a half-century on debut from 122 balls in 194 minutes and with five fours and one six. He became one of six members of the New Zealand 11 for this match — Watling, Jeet Raval, Kane Williamson, Henry Nicholls and Tim Southee are the others — to have scored a half-century or better on debut.

Watling followed him to a half-century from 180 balls in 239 minutes. He continued an extraordinary run which has seen him score 77, 105, 205 and 55 in his last four Test innings, batting for more than 21 hours.

England struggled to break the partnership, even with the second new ball, until it found the effectiveness of the short ball. Bouncers from Stuart Broad accounted for both Watling, caught at gully by Bruns, and Mitchell caught at fine leg by Jofra Archer. The New Zealand tail quickly followed.

Sibley was struck on the helmet by Tim Southee, disconcerted and was out shortly afterwards, lbw to the same bowler. Denly flashed at a ball from Matt Henry and was caught by Watling, leaving Burns and Root to guide England to stumps.

With inputs from AP 

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Ligue 1: Clinical Lyon script comeback to end Strasbourg's unbeaten home run; Montpellier climb to fourth with win over Amiens`

Depleted by injuries and deprived of a clear game plan, Lyon showed character and clinical efficiency to come from behind and win at Strasbourg 2-1 in the French league on Saturday.

On a cold evening in Alsace, Lyon suffered throughout and converted its few chances. Midfielder Jeff Reine-Adelaide snatched the winner 15 minutes from time from Maxwel Cornet’s assist after the Lyon striker canceled Strasbourg’s opener.

The result, which ended a four-game winning run for Strasbourg at its home stadium, lifted Lyon to sixth place in the standings, 11 points behind leader Paris Saint-Germain.

With a bunch of injuries already, Lyon coach Rudi Garcia lost another important player as defender Leo Dubois hobbled off the pitch in the 83rd minute with an apparent knee injury.

Forced to reshuffle his lineup, Garcia handed midfielder Maxence Caqueret his first start as a replacement for Thiago Mendes, one of three key players missing the game through injury alongside Memphis Depay and Houssem Aouar.

All three were absent for Lyon’s 2-0 loss at Zenit Saint Petersburg in the Champions League midweek.

The 19-year-old Caqueret got off a terrible start and put his team in trouble in the sixth minute when he gave the ball away near the midfield line. Strasbourg launched a fast counterattack as Youssouf Fofana sped down the pitch and found forward Ludovic Ajorque, whose shot was well defended by Marcelo.

Playing with intensity and high pressing, the hosts won most of the duels and were dangerous on the counter. They found a cutting edge in the 22nd minute when Ajorque played a quick one-two on the left flank which destabilized the Lyon defense. Ajorque crossed the ball for Fofana, who beat ‘keeper Anthony Lopes from a tight angle with a strike at the far post.

Cornet leveled five minutes before the interval. He connected with a well-timed through ball from Caqueret inside the box, turned down a defender and fired a left-footed shot past Matz Sels.

Lyon weathered the hosts’ pressure in the second half and patiently waited for an opening that came in the 75th. Slowing down the pace from the edge of the box, Cornet made a precise cross at the far post for Reine-Adelaide to head in.

Game changer

Juan Ferney Otero’s second-half dismissal caused a collapse as Amiens lost 4-2 at Montpellier, who climbed to fourth in the table.

Amiens conceded three goals in the space of eight minutes after the Colombian striker was sent off for an ugly foul on Hilton. Montpellier produced its biggest win this season, and extended its unbeaten run to six matches in all competitions.

Osimhen on target

Victor Osimhen scored his eighth goal this season to help Lille recover from its Champions League loss to Ajax midweek.

Osimhen scored the winner from the penalty spot to guide Lille to a 1-0 win over Dijon.

Other results

Third-placed Angers, the surprise package, lost at Nice 3-1, Nimes was held by Metz to 1-1 and Bordeaux drew at Reims 1-1.

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I-League 2019-20: Chennai City FC start title defence at home against debutants TRAU FC

Coimbatore: A new-look Chennai City FC will begin their I-League title defence when they take on debutants TRAU FC of Manipur on Sunday.

Chennai City have lost some of their key players, owing to transfers in the form of Nestor Benitez, Edwin Sydney Vanspaul and Tarif Akhand who formed the core of the attack and defence last season.

It will not be an easy opening game for the Coimbatore based side as they look to put a new combination in place.

The defending champions will be looking forward to the experience of Japanese midfielder Katsumi Yusa who has joined the team this year after spending the last season with NEROCA FC.

At the same time, there will be high dependence on the Spanish quartet of star striker and golden boot winner Pedro Manzi, defender Roberto Eslava and midfielder Adolfo Miranda and Sandro to repeat the fortunes of last season for the team.

"We are looking forward to the league, working hard for a pre-season of almost four months. We know we are a new team with young and many players without experience in I-league," said captain Manzi, who looked all geared up for the first match.

"I believe this season is going to be even more difficult than the previous one. The teams have been reinforced and are stronger but we will work together to defend the title."

The Imphal-based TRAU, on the other hand, are the unpredictable force of I-League this season. To have qualified for the first time for the I-League only in their second year of existence speaks volumes about the ability of the team.

The visiting team is led by Nigerian forward Princewill Emeka Olariche, who was also the highest scorer in the 2nd Division league with 10 goals. He will be looking to replicate his form in the I-League.

In company with him are some key players which include the likes of 32-year-old Brazillian forward Marcel Sacramento, former East Bengal and Mohun Bagan midfielder Abhinash Ruidas and a direct transfer from Kerala Blasters, Loken Meitei who will have a point to prove in the I-League.

Speaking before the match TRAU FC captain Olriche stressed on the importance of a good pre-season.

"Preparation so far has gone so well. We had a few pre-season friendly matches from which we got mostly positive results and we are readily waiting for the I-League season to commence. We have so much in store," he said.

"We have made a lot of additions to the squad, mostly experienced players, both foreigners and Indians. We have a superb technical team and we are playing a fantastic brand of football. We are ready and we are anticipating a great season ahead."

Match starts at Nehru Stadium at 7pm.

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Newborn girl’s body found at abandoned plot in Punjab’s Ludhiana; police appoint probe team, remains sent for post-mortem

Ludhiana: A body of an infant girl was found in an abandoned plot in Punjab's Ludhiana, police said on Saturday.

The baby's body was spotted by locals who informed the police about the matter. Speaking to ANI, Sub Inspector Harbhajan Singh said that the newborn was one or two days old.

He said that the owner of the plot does not live here and the land is maintained by a caretaker. "We have sent a team to investigate the matter," he added.

A lady who called the police said that the body was first noticed by a child, who informed locals in the area. The body has been sent for postmortem.

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Martin Scorsese's ten greatest films ranked, from Taxi Driver, Raging Bull to Goodfellas, The Irishman

The Marvel vs Martin Scorsese debate has raged on for long enough. There has been backlash — and then backlash to the backlash — over the celebrated director's comments. Of course, it has not stopped the rest of Hollywood's old guard and new from chiming in on what is and is not cinema.

With the release of The Irishman on Netflix, we hope to turn the heated debate aside to reflect on the work of the patron saint of contemporary cinema. Scorsese has continued one of the hottest streaks in cinematic history, delivering many a masterpiece in the last five decades or so. Even some of the lesser films in his back catalogue have endured longer than most filmmakers' career-best output. So it is easy to see why he inspires such devotion. But where does his latest stack up?

To celebrate the storied career of the legendary filmmaker, we present an entirely subjective — we repeat subjective — ranking of his defining work.

(Please note: we are only appraising his narrative feature films, not his documentaries)

10 | Bringing Out the Dead (1999)

Bringing Out the Dead is probably the least re-watched of Scorsese's collaborations with screenwriter Paul Schrader. But 20 years on, it feels like a mood more than a movie as it is emblematic of a work culture that has caused stress and burnout to reach epidemic levels. Frank Pierce (Nicolas Cage), an overworked paramedic, is dragged over the edge of sanity as he is forced to work the soul-crushing and spirit-breaking graveyard shift in Hell's Kitchen. He feels jinxed as he has not saved a dying patient in so long he has started to wonder if he is a saviour or an angel of death. Haunted by the ghosts of those he could not save, Pierce hopes to save one dying soul so he can save himself. Scorsese internalises Pierce's frustrations and externalises his thoughts as we see — and hear the voices of — the living, the dead, and those stuck in between. He traps us along with Pierce in the nightmare of working in a thankless industry in an indifferent city. But it is still a beautiful nightmare as streaks of red and blue ambulance lights bleed into the city streets abstracting it into an urban delirium. Overall, Bringing Out the Dead is a case of parts being greater than the sum.

9 | The Departed (2006)

The intricate plot, kinetic editing, and impeccably curated music choices of The Departed turn it into one Scorsese's most purely joyous and wildly entertaining films. Scorsese takes the Hong Kong crime thriller Infernal Affairs, and deftly relocates it to Boston, adding a more richly layered study of the fractured Irish-American identity. Though he does not break new ground, he fine-tunes his flair for gangster thrillers for a more mainstream audience. He sets up the movie perfectly with an unforgettable establishing scene: we see a silhouette of Jack Nicholson's character Frank Costello, who delivers a monologue as money changes hands, a young boy gets how-to-be-a-gangster 101 lessons, and a couple are shot in the head — all of which is soundtracked to 'Gimme Shelter'. The film tells the story of an undercover cop (Leonardo DiCaprio) and a mafia mole (Matt Damon), and the crisis of consciousness that arises from leading double lives. As each tries to uncover the other's identity before they are both exposed, the body count and plots grow into a substantial-sized cemetery. But it keeps you guessing about their true motives down to its final moments.

8 | The Age of Innocence (1993)

Scorsese trades in mobsters and guns for manners and gossip, bringing an intimate immediacy to his faithful adaptation of Edith Wharton's 1920 novel of the same name. This pre-tabloid melodrama works as both a character piece and a broader glimpse into the absurd conflicts between the old rich and the new. Newland Archer (Daniel Day-Lewis) finds himself entangled in a love triangle between the more Bohemian but married Countess Ellen Olenska (Michelle Pfeiffer), and her more conformist cousin May Welland (Winona Ryder). These affairs of love, tradition, and social politics are however handled with great dramatic discipline as Day-Lewis, Pfeiffer, and Ryder bring the truths and telling details of Wharton's prose on screen without resorting to histrionics. Their character arcs are weaved together into a cohesive whole that provides both insight and emotional payoff. Its subtle tone masks a deeply submerged passion that surfaces in a few searingly beautiful moments. To quote the great Roger Ebert, "I have seen love scenes in which naked bodies thrash in sweaty passion, but I have rarely seen them more passionate than in this movie, where everyone is wrapped in layers of Victorian repression."

7 | Casino (1995)

Casino uses — and at times abuses — the template of its breakthrough predecessor Goodfellas, and delivers a near-equal version of the gangster epic. Though the setting shifts from New York to the "morality car wash" that is the Sin City of Las Vegas, it still feels like a spiritual sequel to Goodfellas: both are written by Nicholas Pileggi; both are real-life tales of a crime syndicate's rise to power and subsequent fall from grace; and both feature Robert De Niro as a more level-headed mob figure to Joe Pesci's more psychotic character. Only this time around, Pesci's hot-headed behaviour and sociopathic disdain costs him dearly as he becomes the casualty of a singularly unpleasant moment of ultra-violence. After he is forced to watch his fellow Mafioso indulge in some baseball batting practice with his brother's head, they repeat the process beating him close to death before burying him alive. However, behind its freewheeling brutality, Casino is still a great cinematic examination of the criminal mind and an accurate depiction of Las Vegas as a "Disneyland" for adults. 

6 | The Irishman (2019)

Returning to the fruitful stomping ground of gangster films, Scorsese reunites with De Niro and Pesci, and reconnects with the genre that earned him his reputation. Only The Irishman is a self-reflexive work as he reinterprets familiar stories in a new canvas. You can sense a lifetime's worth of his films and mafia mythology embedded in its layers. If Goodfellas takes a Steadicam one-take stroll through the Copacabana to showcase gangster life in all its sordid glamour, The Irishman gives you a shot of a gun sinking into the depths of a river where hundreds of other disposed firearms rest after having served their purpose. Perhaps, some of these were used by gangsters from other Scorsese films as they spread misery and death to everyone and everything they touched. So, it is an elegy to gangster films, a requiem for the American Dream. It is a film made under the retrospective gaze of an auteur still at the peak of his directorial powers.

Studiously researched and gorgeously shot, The Irishman tells the story of alleged mob hitman Frank Sheeran (De Niro), his friendship with mafia boss Russell Bufalino (Joe Pesci), and his involvement in the disappearance of union boss Jimmy Hoffa (Al Pacino). But Scorsese turns this gangster saga into something grander and more intimate than his previous films. It is in many ways an antithesis and a fitting bookend to the testosterone-filled gangster epics of past.

5 | The Wolf Of Wall Street (2013)

Scorsese and screenwriter Terence Winter abridge Wall Street stockbroker Jordan Belfort's memoir down to its most garish elements. Belfort (DiCaprio) and his employees swindled millions of dollars from hapless investors through a combination of securities fraud and market manipulation to fund his decadent lifestyle of yachts, hookers, drugs, and midget-throwing contests. The Wolf of Wall Street offers a nightmarish perversion of the American dream as we see the rich go to hedonistic extremes in their pursuit of happiness. Scorsese intentionally makes all the sinful indulgences uncomfortably alluring — even inappropriately comical — in a clear condemnation of unbridled capitalism and the narcissistic behaviour it breeds. And it is anchored by an unhinged DiCaprio, who supercharges the entire film with a frenetic alpha-male energy as he takes you on a joy ride into the most decadent depths of humanity. Seeing a drooling Quaalude-impaired DiCaprio crawl his way to the car and use his foot to open the door is alone worth the price of a movie ticket.

4 | The King of Comedy (1982)

In The King of Comedy, a wannabe comic named Rupert Pupkin (De Niro) becomes dangerously obsessed with his idol, late-night TV host Jerry Langford (Jerry Lewis) — and kidnaps him in order to ensure a TV spot. This criminally underseen gem re-entered the conversation recently owing to its striking influence on the plot of Todd Phillips' Joker. But Scorsese's satire is far more revelatory in its criticism of media-encouraged celebrity worship. He also takes an unsparing look at Rupert's sense of entitlement that the world owes him 15 minutes of fame, and he will have it at any cost. It is sociopathic behaviour as performance art, and De Niro is simply exceptional in this outrageous comic fantasy that only seems to get better with each viewing.

3 | Goodfellas (1990)

On another day, this film could easily have been No 1 on the list. Its influence is immeasurable as it is one of the slickest written and most quotable films. Scorsese synthesises the New York setting, the morally ambiguous characters, and their mafia machismo with such gusto that, once seen, you never forget it. He immerses us in the schemes and routines of these tough-talking wise guys who have now become oh-so-familiar in a sub-genre filled with the rip-offs it has since inspired. Tracing the rise and fall of Henry Hill (Ray Liotta), whose only ambition as a kid was to be a gangster, Goodfellas explores the allure, logistics, and consequences of criminal life. De Niro and Pesci make for a dynamic duo, carefully balancing believability with theatrics in their equally bravura performances as ambitious mobsters. All this and more has made Goodfellas an enduring cultural touchstone and its depiction of the cut-throat world of organised crime in the US, second only to The Godfather.

2 | Raging Bull (1980)

Scorsese's film about former boxing champion Jake LaMotta (De Niro) is arguably the finest biopic — sports or otherwise — in film history. Unlike most other biopics, Scorsese refuses to give us a straightforward objective reality of his subject. Instead, he paints a more subjective experience of the world as seen through the eyes of LaMotta, a man whose violent masculinity spills outside the ring into his home, ultimately wrecking both his personal life and professional career. Scorsese illustrates his descent by communicating his emotional wavelength with lighting and design of sets. The black-and-white photography not only deglamourises its subject but adds a muted softness to his internal conflicts. By filming the fight scenes from inside the ring, he not only builds an intimacy with the boxers but also captures the physical and psychological components of the fight. He also used smoke to create hazy images that emphasised LaMotta's punch-drunk consciousness. Hats off to Thelma Schoonmaker for editing these images seamlessly into a veritable masterpiece.

1 | Taxi Driver (1976)

After the very first viewing, Taxi Driver lingers in the mind for longer than most films. Travis Bickle (De Niro) is a 26-year-old Vietnam War veteran with delusions of grandeur fuelled by frustrations with his socio-economic standing and sense of white male privilege. He is also a man with a plan. So, he begins a bloody path of vengeance, directing his anger at his ex-girlfriend Betsy (Cybil Shepherd), a Senator (Leonard Harris), and all the “scum” of the world. He also believes his redemption lies in saving a young girl named Iris (Jodie Foster) from a life of prostitution. In his mind, these actions are justified by their heroic intent and his own moral code. This rationale for American masculinity stems from the economic equality and social advancement promised by the so-called American dream. As Travis feels cheated out of this promise, he feels he has to lash out violently. Add the alienation, insomnia, and Post-Traumatic Stress Disorder into the equation, you have got yourself a ticking time bomb. When he stares into the mirror, it is like reality and fantasy are both pointing a gun at him. So Scorsese and Schrader confront this quintessential American ideal of the self-made, rugged individualist in pursuit of the American dream, and its potentially tragic consequences. But it is also a haunting character study of the human condition of loneliness and its devastating effects on the psyche. It is a film that demands multiple viewings, and you discover something new to cherish, ponder, and admire on each occasion. Michael Chapman’s cinematography turns New York into a noirish Gomorrah, and Bernard Herrmann's last score is as phenomenal as his first. Scorsese’s Taxi Driver is simply cinema at its purest.

All images from YouTube.

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