Gangs of New York (2002)

One of Martin Scorsese's lesser works. As a fan, I found this a big disappointment.

Fragmented and unfocused, it tells the story of the feuding Catholic and Protestant groups in the New York of the 1860s. At the same time, Amsterdam Vallon (Leonardo DiCaprio) seeks revenge from William "Bill the Butcher" Cutting (Daniel Day-Lewis), who killed his priest father (Liam Neeson).

Scorsese tries to tell too many stories and loses track of the multiple threads.

There's slightly naff Irish music running through the film, which drags on for 167 minutes.

DiCaprio doesn't get to act much, which is a missed opportunity, and Cameron Diaz (who plays his pickpocket girlfriend) doesn't bring a great deal to the role.

There was possibly a great film in here somewhere, but possibly it got lost in the edit.

Stan & Ollie (2018)

Poignant account of Laurel and Hardy’s UK tour of 1953, directed by Jon S. Baird. 

The duo were very much on a decline, career-wise, but there was still enough affection for their old routines for them to be able to perform in theatres. This is set against Hardy’s declining health, and also the evolution of their long and complex relationship. 

Steve Coogan and John C. Reilly are superb in the lead roles, really nailing the mannerisms and voices. It’s touching to see how they interact after years of friendship and as a working unit. It’s also quite funny.

The Aviator (2004)

Biopic of billionaire entrepreneur Howard Hughes, directed by Martin Scorsese and starring Leonardo DiCaprio. 

It’s a sad and engrossing story that expertly details Hughes’ decline into paranoia, social reclusiveness and the crippling discomfort of extreme OCD. 

Scorsese’s usual tricks are all displayed, but it’s refreshing to see them used in a non-crime story. At times it all seems a little too stylised, but then Scorsese handles this visual flamboyance so well that he makes it work. Plus, it’s a film about the veneer of Hollywood success so that lavish styling serves to further underscore the subject matter. 

DiCaprio is absolutely superb as the visibly crumbling Hughes. Cate Blanchett is also at her best, capturing the quick-witted energy of Katharine Hepburn. 

Also popping up are Kate Beckinsale (as Ava Gardner), Ian Holm, John C. Reilly, Alec Baldwin, Jude Law, Gwen Stefani (as Jean Harlow), Willem Dafoe and Alan Alda (as Senator Ralph Owen Brewster).

Casualties of War (1989)

Directed by Brian De Palma, this tells the story of an American soldier in the Vietnam War (Michael J. Fox) who reports the other members of his squad for kidnapping, raping and murdering a Vietnamese woman. It’s loosely based on the 1966 “incident on Hill 192”, although names have been changed. 

Fox turns out to be fairly convincing as the squeaky-clean Lutheran who resists his sergeant (a believably on-the-edge Sean Penn). He just looks a little too fresh and healthy, even when he’s sent to hospital, and his hair never seems to get ruffled. In contrast, the war scenes are scary and realistic. 

The music is by Ennio Morricone and – despite its appeal – seems a little too prominent for certain scenes.

Carnage (2011)

Set in one evening in a New York apartment, Carnage features two couples rowing over an incident between their children. Directed by Roman Polanski, the real-time scenario works (it’s adapted from a play by Yasmina Reza) and the disintegration of relationships and social niceties is handled with ruthless precision. Not one of the four characters is likeable, so you move beyond feelings of “taking sides” to a realisation that the whole lot of them are self-centred and childish. It’s filmed in such a way that the slightly queasy angles cleverly emphasise their grotesque qualities as the tension escalates. It’s brilliantly twitchy and uncomfortable.

There’s an especially memorable scene in which a hair-dryer is used to dry Jodie Foster’s precious art catalogue after it becomes splattered with Kate Winslet’s vomit. You might think that would be the low point for the characters, but things continue to get worse.