In discussions of the best American filmmakers of all-time, the title Martin Scorsese is assured to show up. Since making his directorial breakthrough with Mean Streets some 50 years in the past, the person they name Marty has – alongside a troupe of dependable collaborators each behind and in entrance of the digital camera – contributed extra bona-fide masterpieces to the cinematic canon than most different filmmakers you can title. And he’s finished so while frequently reinventing himself, honing his personal craft while supporting and advocating for the cinematic expertise and its preservation everywhere in the world.
With Scorsese’s newest work, Killers Of The Flower Moon, as soon as once more reminding us of his filmmaking energy, Team Empire gathered collectively to rank the grasp’s works. From taxi drivers to good fellas, the son of God to the wolf of Wall Street, kings of comedy to morally-fraught missionaries, and lots of extra, there’s a Marty for all seasons on this rarified bunch of cinematic gems (although, for the aim of the listing, we’re specializing in his narrative movies, fairly than his in depth documentary and live performance characteristic work).
So, lovers of cinema, please be part of Empire as we current our ranked listing of each Martin Scorsese film. The actual winner? Cinema itself.
26) Who’s That Knocking At My Door
Few movies have gone by way of extra titles than Martin Scorsese’s debut. It was variously referred to as ‘Bring On The Dancing Girls’, ‘J.R.’ and ‘I Call First’ earlier than it landed on Who’s That Knocking At My Door, taken from the music by The Genies. The autobiographical story is a personality examine of J.R. (a ridiculously younger Harvey Keitel), a neighbourhood man who loves Westerns and meets a never-named middle-class lady (Zina Bethune, simply credited as Girl) who likes European artwork movies. It’s a rough-hewn affair — Scorsese needed to put in a gratuitous intercourse scene minimize to The Doors’ ‘The End’ (years earlier than Apocalypse Now) with a visibly-much-older Keitel to safe launch — however inside the scrappiness are moments of Marty magic (a celebration captured in slow-motion) that time to the later genius. Catholic guilt, rituals of Italian-American life, nice needle-drops and infectious movie buffery are all right here, however they’re on a shoestring that makes Mean Streets seem like Killers Of The Flower Moon.
25) Boxcar Bertha
Following up his debut, Scorsese, the final word New Yorker, went on the highway to the American South (the movie shot in Arkansas) to make this Roger Corman exploitation image. It follows the titular orphan (Barbara Hershey) who groups up with a Union Rep turned bandit (David Carradine — suppose a renegade Mick Lynch) to go on against the law spree in the course of the Depression to precise revenge on evil railroad bosses. Only his second movie, there are a couple of Scorsese-isms on show — a robust sense of locale, no-nonsense staging of violence, a killer crucifix picture — however the movie’s significance within the director’s filmography lies in what it taught the fledgling filmmaker about how you can put a movie collectively on price range and schedule, and work inside the studio system. Next up: Mean Streets.
24) New York, New York
Where Spielberg took till 2021 to shoot his epic ode to the golden age of the Hollywood musical with West Side Story, Scorsese tackled his a lot earlier in his profession, straight after Taxi Driver — having squeezed his digital camera into an NYC cab, he was bursting to movie some free-wheeling motion as an alternative. On paper, the story of romance between sax-man Jimmy (Robert De Niro) and singer Francine (Liza Minnelli) appears to be like promising: in spite of everything, few filmmakers can fuse music and visuals collectively fairly like Marty. Unfortunately, it turned out to be a important and box-office dud, driving the director to medication and ending his ’70s sizzling streak. But whereas wobbly and stuffed with unmemorable improvised dialogue, there are nice issues to be discovered within the film – not least Minnelli’s peppy efficiency and the now-iconic titular theme tune, borrowed by Frank Sinatra two years after New York, New York’s launch. And the story’s had a latest resurrection within the type of a Broadway adaptation, which opened this April.
23) Bringing Out The Dead
Scorsese’s 1999 psychological drama noticed the filmmaker reteam with Taxi Driver scribe Paul Schrader to as soon as once more comply with a misplaced soul wending their method by way of the imply streets of New York – and whereas it’s lesser-known in his filmography, it’s considerably underrated. Nicolas Cage stars as sleep-deprived, deeply depressed paramedic Frank, a person haunted all-too-literally by the ghosts of these he has failed to save lots of. A weighty examination of grief and guilt couched in a subversive tackle the drive-all-night subgenre, Marty’s adaptation of Joe Connelly’s novel stays fascinating. Robert Richardson’s ethereal, hallucinatory cinematography, Thelma Schoonmaker’s disorientating modifying, intentionally blown-out, purgatorial lighting and Cage’s lead efficiency – restrained and stressed in equal, evocative measure – add as much as a tone poem of a bit that will get beneath the pores and skin, exploring themes of remorse that may go on to dominate later Scorsese works.
22) Gangs Of New York
You can’t fault the ambition of Gangs Of New York. For a filmmaker lengthy involved with gangs, New York, and American historical past, it’s nearly inevitable that Scorsese would find yourself making a movie about, properly, rival gangs combating for territory in nineteenth Century New York. The result’s overly sprawling, a uncommon instance of the masterful filmmaker’s attain considerably exceeding his grasp, not helped by script points and Miramax meddling from Harvey Weinstein – however for all the issues right here, it’s nonetheless a thunderous work, punchy and pulpy and peppered with bombastic performances. While this was the director’s first team-up with Leonardo DiCaprio (entrance and centre right here as vengeful teen Amsterdam), it’s Daniel Day Lewis who looms the biggest because the scenery-chewing, ludicrously-behatted Bill The Butcher – snarling and slicing and soliloquising up a storm. Today, it’s the sensible filmmaking that actually stands out – shot earlier than digital strategies turned the norm, Gangs performs out on really gigantic units with hordes of extras in a method that’s all-too-rare right now. Add on a killer remaining shot, and you’ve got a flawed gem.
21) Hugo
Martin Scorsese’s love of cinema is well-documented. From his World Cinema Project and founding of The Film Foundation, to his vocal advocacy for the cinematic expertise and seemingly encyclopedic information of the shape – the man loves shifting photos. Fitting, then, that his sole really family-friendly work is a swooning, unapologetically sentimental love-letter to the medium, designed to be adored by younger and outdated alike. Adapting Brian Selznick’s The Invention Of Hugo Cabret, the movie follows Asa Butterfield’s titular waif who lives within the partitions of the Gare Montparnasse in Paris, as he tries to unravel the thriller of A Trip To The Moon filmmaker Georges Méliès’ (Ben Kingsley) abandonment of his craft. Buoyed by its gorgeous manufacturing design and Avatar-level-brilliant use of 3D, Scorsese’s tribute to the founding fathers of movie and the connective, imaginative energy of cinema is spellbinding.
20) The Aviator
The second collaboration between Scorsese and Leonardo DiCaprio doubles down on one of many director’s favorite themes: folks pushed by driving ambition to tug off unimaginable feats, albeit with a horrible private worth. Scorsese might clearly empathise with Howard Hughes’ pushed want to make films and excel in aviation, whereas Leonardo DiCaprio threw himself into analysis to seize the enterprise titan’s private struggles with OCD. It’s a sweeping, lush film stuffed with incident and cautious element, with very good work from the main pair, plus the likes of Ian Holm, John C. Reilly, Alec Baldwin, Jude Law and Willem Dafoe. The reward was an 11-strong haul of Academy Award nominations, from which it took residence 5 (together with Best Supporting Actress for Cate Blanchett, in a wonderful flip as Katharine Hepburn).
19) Shutter Island
Whilst Scorsese’s filmography consists of loads of chilling moments, 2010’s Dennis Lehane adaptation Shutter Island stays the closest he’s ever gotten to creating an out-and-out horror. With its creepy asylum setting, dank lighting, heightened sound design, and claustrophobic camerawork, the movie appears to be like and strikes like a gothic chiller. But the true horror comes as we watch U.S. Marshal Teddy Daniels – performed with extraordinary interiority by a transformative Leonardo DiCaprio – mentally come undone. What begins as a compelling however unremarkable thriller, with Daniels investigating the disappearance of a lacking lady at an remoted psychiatric facility, quickly turns into a pure psychological horror, with haunting visions and inexplicable goings-on leaving our man Teddy questioning his sanity. It’s not till the movie’s twist ending nonetheless – an expertly-directed and -acted rug-pull – that it elevates a presumably apparent reveal into one thing crushingly tragic.
18) The Last Temptation Of Christ
The Last Temptation is Scorsese’s largest ardour challenge, one which collapsed a number of occasions and was in the end vilified on launch by Christian non secular teams who picketed exterior cinemas over its departure from the Gospels. Based on Nikos Kazantzakis’ novel, this severe, heartfelt movie explores the none-more-Scorsese thought of Christ (Willem Dafoe) caught between his divinity and his mortal aspect (doubt, despair, lust — the standard human stuff). Dafoe eschews earlier beatific portrayals of Christ by being engaged and heat, whereas Scorsese’s filmmaking, from Michael Balhaus’ whirling digital camera to Peter Gabriel’s driving world-music rating, is eons away from the everyday Biblical epic. There’s Harvey Keitel as a wise-acre Judas Iscariot and David Bowie as a weird Pontius Pilate. But, its remaining moments, when Christ – having resisted all temptations – finds himself on the cross and shouts, “It is achieved!”, are profoundly shifting, no matter your non secular beliefs.
17) The Color Of Money
Martin Scorsese just isn’t within the franchise enterprise – he is by no means made a sequel to certainly one of his personal films, preferring to stride on to the subsequent topic every time. Yet he was drawn to comply with up another person’s movie, on this case Robert Rossen’s 1961 pool drama The Hustler. You can see the attraction: Paul Newman reprising his function as legendary cue-slinger Fast Eddie Felson reverse one of many massive rising stars of the time, Tom Cruise, whose pool hustler Vincent Lauria (so egotistical he has VINCE emblazoned on his personal shirt) threatens to derail their money-making scheme by refusing to rein in his ball-in-pocket prowess. Newman took the possibility to return to certainly one of his greatest roles and gained an Oscar for his efficiency. Cruise, in the meantime, confirmed his versatility and, in a foreshadowing of his Mission: Impossible methods, pushed to do his personal trick photographs. Effortlessly cool and classy, that is Scorsese feeling frisky, and delivering a business hit.
16) Cape Fear
It’s not usually that Scorsese enters schlocky, vaguely-gothic thriller mode, however every time he does it’s a deal with. Decades earlier than Shutter Island, he went there with this remake of the Gregory Peck-starring 1962 movie, following up GoodFellas with one thing else fully. Robert De Niro is tatted up and wild-eyed as Max Cady, launched from jail after an in depth stint earlier than looking for revenge on his lawyer Sam Bowden (Nick Nolte) and household. Choking down huge lungfuls of cigar smoke, inveigling his method into younger Dani’s (Juliette Lewis) faculty, and demonstrating critically unhealthy cinema etiquette, the psychopathic Cady looms over the Bowdens, threatening to drive Sam over the sting – fairly actually, in its finale on a ship in a raging river. Richly atmospheric – all broiling skies and the promise of violence – and carried out with cackling depth by De Niro specifically, this can be a pure blast of popcorn Scorsese. The solely method it might be higher? If it closed with an prolonged Max Cady-stepping-on-several-rakes gag.
15) Silence
Scorsese grew up an altar boy – and whereas he wrestled along with his religion in The Last Temptation Of Christ, he returned to the topic later in his profession with this adaptation of Shūsaku Endō’s novel. Set in 1600s Japan – a time by which Christians have been hunted down, tortured and murdered – it stars Andrew Garfield and Adam Driver as Jesuit clergymen Sebastião Rodrigues and Francisco Garupe, respectively, who enterprise East after they be taught that Liam Neeson’s religious Cristóvão Ferreira has apparently recanted his religion over there. What follows is an usually brutal Conrad-esque odyssey as Rodrigues and Garupe search out their lacking mentor – an elemental movie the place each sea spray, each breeze, each muddy splatter feels tactile. As Rodrigues sees violence towards Christians play out throughout him, he more and more feels that he hears nothing from God – solely silence. It’s an extended, darkish, severe watch that often overplays its hand relating to some non secular visions – nevertheless it’s extremely highly effective, and surprisingly gripping for its not-inconsiderable runtime.
14) The Departed
People have a variety of unfavorable issues to say about remakes, and there are lots of dodgy examples of re-worked classics. But Scorsese proves that it may well work to Oscar-winning impact with this overhaul of Hong Kong crime thriller Infernal Affairs – nonetheless his solely Best Picture and Best Director win. Switching the motion to the darkish underbelly of Boston, Scorsese and author William Monahan strike gold with the criss-crossing story of an undercover cop in an Irish gang (Leonardo DiCaprio’s Billy Costigan) and a mole from mentioned gang within the police division (Matt Damon’s Sullivan) trying to ferret one another out. It’s a knotty and propulsive experience, with DiCaprio and Damon diving deep into the twisted psychology of their yin-and-yang characters – although it’s not fairly top-tier Scorsese crime flick, practically unbalanced by Jack Nicholson’s wild flip as mobster Frank Costello. By anybody else’s requirements, this may be a masterpiece – bolstered by Mark Wahlberg swearing up a storm as confrontational cop Dignam, and Vera Farmiga bringing coronary heart as Billy’s psychologist Madolyn. Strike up the bagpipes.
13) Kundun
Criminally certainly one of Scorsese’s lesser liked movies, Kundun is a elegant expertise – a non secular journey that feels genuinely non secular, because of a purity of imaginative and prescient and a very transcendental, hypnotic rating by Philip Glass. Written by E.T.’s Melissa Mathison, telling the story of the Dalai Lama, Scorsese leads us by way of Tibet with dreamlike surprise, his personal model of a sand mandala. As tense as it’s serene, chronicling the invention, tutelage, escape and exile of the nation’s ceaselessly stoic chief, it’s as a lot in thrall to the land as it’s the man, basking in the great thing about all of it whereas unafraid to have its desires flip to nightmares when it must. If you haven’t seen it, do your self a favour and undergo its charms. It’s an enveloping, rewarding watch.
12) After Hours
Scorsese bounced again from the field workplace disappointment of King Of Comedy with this curious small-scale black comedy, that crossed his desk courtesy of producer pair Griffin Dunne (who would go on to star within the movie) and Amy Robinson (who starred in Mean Streets). Set towards a chaotic night time within the SoHo neighbourhood of Scorsese’s beloved New York City, the movie follows Dunne’s aimless laptop information entry employee Paul down an city rabbit gap the place he meets all method of villains, outcasts and oddballs. It’s a uncommon however riveting collaboration between the filmmaker and Dunne, bolstered by glorious character performances from Catherine O’Hara, Linda Fiorentino, Teri Garr, and John Heard. This might not be Scorsese’s bread and butter, nevertheless it’s a kinetic, brashly humorous curveball nonetheless.
11) The Age Of Innocence
Scorsese’s lifelong fascination along with his hometown prolonged to its historical past. In Gangs Of New York, he seemed on the parallels of recent felony life with town’s violent early years; in The Age Of Innocence, he checked out a unique strata of Manhattan society, whereas nonetheless exploring his most beloved recurring themes — the codes and rituals of a tight-knit group; the poisonous pressures of masculinity; the cameo from Scorsese’s mum, Catherine. Effectively the director’s tackle a Merchant Ivory image, it’s a luxurious take a look at Victorian repression, with stunningly understated performances from Daniel Day-Lewis and Michelle Pfeiffer, whose deep ardour for one another rumbles beneath tight grimaces and even tighter corsets. There aren’t many costume dramas on Scorsese’s Scor-CV, however on this proof, perhaps there ought to be?
10) Alice Doesn’t Live Here Anymore
Before Travis Bickle and Jake LaMotta, Rupert Pupkin and Jimmy Conway got here Alice Hyatt, Ellen Burstyn’s wayward widow. Burstyn, looking for out a grounded, sensible lady’s story whereas within the midst of filming The Exorcist, requested a younger Scorsese to direct Alice upon Francis Ford Coppola’s suggestion. It proved a stellar selection. The movie follows Alice as she makes a tumultuous journey throughout America following her husband’s sudden demise, with the hope of constructing it as a singer. Scorsese’s power – contemporary off the again of Mean Streets – imbues Alice’s journey of self-discovery, which sees her reckoning along with her errors whereas attempting to create a greater life for her younger son, with grit, vitality and a palpable love for her character. It’s a beautifully-observed and empathetic portrait, enjoying to Scorese’s distinctive capability to seize American realism even in his early profession.
9) The Irishman
The Irishman is to the mob film what Unforgiven was to the Western – a jaw-slackening reckoning with a historical past of violence, made by a person whose work within the style has outlined the shape. Here, Scorsese assembles an all-star forged (DeNiro! Pesci! Pacino! Graham!), all on mercurial type to inform the story of Frank Sheeran (DeNiro), the war-veteran-turned-mob-enforcer who rose by way of the ranks of the Bufalino crime household, befriending after which allegedly killing Teamster President Jimmy Hoffa (Pacino). Utilising cutting-edge de-ageing tech, the movie is an epic, decades-spanning yarn each bit as blood-spattered, double-cross-filled, and immersed on the earth of organised crime as Goodfellas or Casino. But there’s a quietude to The Irishman, a mortal consciousness that looms over the image – punctuated by on-screen textual content introducing characters by their date and reason for demise – that’s profoundly shifting. And that remaining hour? “Don’t shut the door all the best way.” Haunting isn’t even the phrase.
8) Killers Of The Flower Moon
Talk a few late-career masterpiece. Killers Of The Flower Moon tells the horrifying true story of the Osage murders in Nineteen Twenties Oklahoma throughout ‘The Reign Of Terror’, Scorsese wrestling along with his nation’s bloody historical past – and his personal cinematic legacy. The movie follows Ernest Burkhart (Leonardo DiCaprio), a morally invertebrate warfare veteran who marries Osage lady Mollie (Lily Gladstone), and makes them pawns in his uncle William ‘King’ Hale’s (Robert De Niro) plans to kill off the Osage and declare their land and headrights. It’s a sickening chapter in American historical past which Scorsese treats with acceptable respect and restraint. Moments of utmost violence are punctuated by silence, the Osage folks’s customs and tradition are offered in exacting element, and the escalating acts of inhumanity are depicted with a sterility that emphasises the banality of evil. Robbie Robertson’s remaining rating is haunting, as is the movie’s breathtaking finale, which – after witnessing such monstrosity and hatred – reminds us all that Scorsese could be essentially the most caring, conscientious, and self-aware filmmaker we’ve. It’s over three hours lengthy, however Marty makes each final second rely.
7) The King Of Comedy
“A man can get something he needs so long as he pays the worth.” So goes the philosophy of Rupert Pupkin, the psychopathic protagonist of Scorsese and Robert De Niro’s fifth collaboration. Unfairly maligned on launch, Marty’s bleak comedy about an aspiring slapstick comedian who goes to excessive lengths to get the eye of his favorite late night time host (Jerry Lewis’ Jerry Langford) is a grimly prophetic tour-de-force. A treatise on the hazards of parasocial relationships and a personality examine in egoic psychosis, Scorsese slips between fantasy and actuality with preternatural ease as a darkly charismatic De Niro goes by way of the gears, shifting from a pitiful strolling embarrassment to a palpable, terrifying risk. In a simply world, Rupert Pupkin can be a reputation simply as closely featured in biggest character lists as Travis Bickle or Ray LaMotta. Something he’d be very pleased about, we think about.
6) Mean Streets
With all the pieces we now perceive a Martin Scorsese film to be, Mean Streets is admittedly the place all of it started. It’s not fairly his first movie — scholar efforts and Roger Corman quickies predate it — however as a correct trade breakthrough, the primary time his cinematic voice might be really be heard, it would as properly be the beginning pistol. A crackling ground-level crime drama, it established his hallmarks with appreciable panache: there’s New York mobsters, small time hoodlums, Catholic guilt, specific violence, a slow-motion character entrance to a Rolling Stones music… there’s even the now-familiar cameos from Scorsese himself (because the brilliantly-named underling Jimmy Shorts), and his beloved mom Catherine (as ‘Woman On Landing’). Perhaps most importantly, it marks the primary time the filmmaker labored with Robert De Niro, forged because the feral Johnny Boy — establishing a traditionally necessary collaboration that may final many years.
5) Casino
Some critics will snipe that Casino is merely GoodFellas reheated and wearing a gaudier swimsuit. Well, stick that opinion in a vice and switch the crank, as a result of regardless of the acquainted trappings — against the law household falling aside, De Niro wanting confused, Pesci tormenting mooks, a soundtrack stuffed with interval bangers — the later movie stands tall all by itself. For one factor, it’s extra operatic, with its three-hour runtime, intricate internet of characters, overview of how an entire metropolis operates, and spectacular visuals (the car-bomb explosion initially, scored to Bach’s St Matthew Passion, is perhaps Scorsese’s grabbiest opening). Then there’s Sharon Stone’s fiery efficiency as Ginger, mesmerising from her first look flinging cube into the air, proper by way of her descent into drink, medication and despair. Despite its marathon size, the movie fizzes with power and invention, as riotously enjoyable as Vegas itself — till the inevitably bleak sting within the tail.
4) The Wolf Of Wall Street
To date, The Wolf Of Wall Street stays Martin Scorsese’s largest business hit, grossing a cool $389.8 million. It isn’t laborious to see why. An outlandish, outrageous, and unapologetically extreme three-hour black-comedy biopic led by a career-best Leonardo DiCaprio, it chronicles the dramatic rise and spectacular fall of dealer Jordan Belfort (DiCaprio), whose 2007 memoir provides the movie its title. Easily Scorsese’s most unsubtle assertion on the contemptuousness and corrupting power of capitalism in America, what makes Wolf so interesting is that, in addition to being stuffed to the gills with tack-sharp sociopolitical commentary, it’s only a hell of a variety of enjoyable. Edited like an improvisational jazz solo by Thelma Schoonmaker, three hours flies by in a haze of cocaine, Quaaludes, wild events, short-short skirts, and swanky yachts. An insatiable ensemble – Matthew McConaughey, Margot Robbie, Jonah Hill, and extra – come collectively to inform a narrative of greed that makes you’re feeling punch-drunk earlier than spitting you out stone-cold sober. All collectively now! Hmm-MMM. Thump-thump. Hmm-MMM. Thump-thump…
3) Raging Bull
What a sticky, uncomfortable, home movie Raging Bull is. Is it a sports activities movie? Is it a biopic? Yes, and sure, but in addition no, and no, as a result of Robert De Niro – who generated the challenge – and Scorsese discovered precisely what they wanted at the hours of darkness, murky, fuck-you coronary heart of abusive boxer Jake LaMotta, fashioning it right into a raging beast in tune with their very own psychological issues. The boxing is nice, and singular – Scorsese really fired Steadicam supremo Garrett Brown from the movie as a result of he was anxious the battle scenes can be too much like what Brown had finished on Rocky (it’s okay, he later employed him for Casino). But what you keep in mind is LaMotta’s ongoing battle with himself – his anger spilling out indiscriminately, on the road, within the bed room, in jail. He’s an absolute alpha mess, a wretched, tortured animal of a person. Perfectly so.
2) Taxi Driver
In the intoxicating, incomparably immersive world of Scorsese’s 1976 neo-noir, smoke rises from the streets of New York metropolis as rain falls to fulfill it – a perpetual strategy of cleaning and air pollution from which none can really escape. It’s right here that Marty finds Travis Bickle, a lonely, embittered, indignant insomniac lent an uncomfortably simple disappointment and humanity by a never-better De Niro and Paul Schrader’s psychologically needling screenplay. We comply with nighttime cabbie Bickle because the putrefaction he perceives on the earth round him leads him down a path of violence. The famously improvised, “You talkin’ to me?” scene the place Bickle rehearses his violent vigilantism is an iconic second in a film stuffed with them – however maybe essentially the most highly effective scene of all is Travis’ cellphone name as he tries to get one other date with Betsy. The method the digital camera slowly pans away to the empty hall as a reprieve for our protagonist – his pleading too painful to observe, his loneliness abyssal – is maybe Scorsese’s purest expression of complete isolation. Almost 50 years on, its energy has by no means been higher.
1) GoodFellas
No movie hits like GoodFellas. Just just like the cocaine that turns effortlessly charismatic gangster fanboy Henry Hill right into a reckless maniac, that drives him to the sting of a coronary heart assault, that makes him paranoid (OR IS HE?), the movie enters your system with a jolt, supplying you with a right away rush, and retains you wanting extra, extra, extra, MORE, till it lastly comes crashing down, again to bleak actuality, after which simply finishes. And it’s a must to dwell the remainder in case your life like a schnook, as a result of, frankly, no different movie compares to GoodFellas. The solely resolution: one other massive snort of GoodFellas. Scorsese, author Nicholas Pileggi and editor Thelma Schoonmaker constructed nearly your complete movie like a trailer, one scene bleeding into the subsequent, not supplying you with the chance to cease watching, to let go, to take a breath. It’s an unstoppable feat of propulsion. Now that’s cinema.
