Some of the most famous movie scenes of all time feature originally composed music or lift pieces from older films and recontextualise them for a modern audience, such as Tarantino pinching all of Ennio Morricone’s back catalogue. But what happens when you abandon this approach in favour of utilising a soundtrack of pre-released popular songs? It’s an idea that has been utilised as a directorial trademark by the likes of Quentin Tarantino and Edgar Wright, but it is widely acknowledged to have been popularised in western cinema by Easy Rider (1969) and specifically the films of Martin Scorsese. The latter has many a trademarked needle drop in his repertoire, but his use of soundtrack was arguably at its height in his 1990 gangster thriller Goodfellas.

In Goodfellas, the meticulously chosen selection of 50s to 70s music plays a huge hand in creating the memorable moments that have stayed with us (and reached new audiences) across the past thirty-plus years. In an interview with Esquire, the film’s music editor Chris Brooks claimed that Scorsese “[…] knew every one of those songs two years before he shot a frame of film.” It clearly paid off…

Although primarily told in chronological order, Goodfellas opens in media res, with the three central protagonists – Henry Hill (Ray Liotta), Jimmy Conway (Robert De Niro) and Tommy DeVito (Joe Pesci) – driving to dispose of a body in 1970. During the sequence, they realise the man is not dead, so they brutally murder him. After the job is done, Henry delivers the legendary opening line of “as far back as I can remember, I always wanted to be a gangster” and slams the car boot down. This is where we hear the first needle-drop: the late, great Tony Bennett’s “Rags to Riches”.

The lively brass selection that creates the opening of the song submerges us into the glamorous lifestyle of the gangster, allowing us to gaze with Henry’s childlike wonder at these powerful mobsters, making us forget about the brutality we just witnessed in the opening scene. As we are transported back to 1953, the lyrics of the song, coupled with the richness of Bennett’s voice, establish the running theme of the film: the ascent to, and descent from, power.

Through the use of doo-wop and crooner tunes popularised in the 1950s, we see Henry’s journey from a bullied neighbourhood kid into a fully-fledged mob associate.

Despite the flashy violence often seen in his films, Scorsese is an auteur renowned for authenticity, whether that be capturing Tibetan spiritual leaders, Gilded Age high society or Jesus Christ himself. When it came to Goodfellas, Henry’s upbringing mirrored Scorsese’s own in 1950s Italian-American neighbourhoods in New York. Therefore, the sequences of Henry’s childhood were soundtracked to Italian-language songs, reflecting the tradition and values set by the mobsters that Scorsese himself would have encountered.

The jump-cut to adult Henry takes us to 1967, significant in both the film’s timeline and the progression of music. In the 60s, music producer Phil Spector pioneered what is known as the Wall of Sound technique, where he would utilise studio recordings to make rich, orchestral tones that were designed to be played on jukeboxes and radios. With that, Spector used his formula to popularise several girl groups, including The Crystals.

In Goodfellas, Henry has seamlessly adjusted into his glamorous gangster lifestyle and his new challenge is his relationship with Karen Friedman (Lorraine Bracco). Whilst he was originally disinterested in her, her fiery attitude and “great eyes like Liz Taylor’s” prompted him to take her on a date to the notable Copacabana club. To emphasise his importance in the mafia world, Henry takes Karen through the back door of the club and through the kitchens before the waiter miraculously produces a table out of thin air for them to sit right next to the stage. This sequence is shot in an unbroken long take and accompanied by The Crystals’ “Then He Kissed Me”. It is a sweet and romantic song, where context reflects that both the music and Henry are in a new stage of life.

This new stage of life culminates with Henry and Karen’s wedding montage, as The Harptones’ dreamy “Life is But a Dream” plays throughout. The Harptones were a fairly unsuccessful group, never breaking into the top forty, but their song is the perfect choice for how Henry and Karen’s lifestyle was too good to be true.

From this point, we rattle through Henry’s day-to-day mobster business, reflected through the use of more of the same doo-wop, adult standard tunes. Significant hits being Dean Martin’s “Ain’t That a Kick in the Head” (a song originally written to be in the 1960 version of Ocean’s 11) and Queen of Soul Aretha Franklin’s “Baby I Love You”. Even when Henry and his associates are arrested, the breeziness of prison life for a gangster is reflected by “Beyond the Sea” by Bobby Darin. The singer’s voice is as cool as you like.

When Henry takes a turn for the worse, however, the soundtrack keeps up with him. During his time in prison, Henry becomes mixed up in the drug trade. We see him snorting cocaine with his new girlfriend Sandy at her apartment, soundtracked by the Scorsese Staple “Gimme Shelter” by The Rolling Stones. Used again in his films Casino and The Departed (twice in the latter), the brutal anti-war ballad is a stark contrast to the easy-listening previously heard within Goodfellas, signifying how Henry has strayed from his original path of gangster to dealer.

What was there from the 60s and 70s still remains, but only just. Christmas tunes from Spector’s acts The Ronettes and Darlene Love play when the mafia are celebrating their Lufthansa heist victory. However, the joy is short lived for all three protagonists: Tommy is murdered to the sound of the piano exit from Derek and the Dominoes’ “Layla”, and Jimmy silently decides to murder all of his crew to the sound of Cream’s “Sunshine of Your Love”. These iconic rock songs accompany pivotal and iconic scenes in the film, and all incidentally feature Eric Clapton, whose career spanned from the 60s and into the 70s. When filming, Scorsese played “Layla” on-set to synchronise the staging, blocking and camera movement with the instrumentals.

The climax of the film sees us hurtling into the 80s, as Henry has the day from Hell trying to juggle his family life, gangster life and drug-dealing life, until it all blows up in his face. The sequences from the chaotic day are amplified in tension by the use of high-octane songs from rock legends Harry Nilsson, The Rolling Stones, The Who, George Harrison, and Muddy Waters. The glamour is gone, Henry’s life is over; rock n’ roll is here to stay.

And so, that leaves us with the final song. The last shot sees Henry living as a ‘schnook’. Stuck in witness protection to save his own skin, Henry laments that everything he worked for was for nothing and that he is confined to living a boring, meaningless existence. Scorsese chooses to close the film with Sid Vicious’ cover of Frank Sinatra’s “My Way”. This is a spectacular song choice to end the film with as it is an imitation of a legendary crooner song associated with glamour and elegance, performed by an artist known for his notoriety and vulgarity. In the end, Henry becomes Sid Vicious, the outcast, desperately longing for the glamour that Frank Sinatra had.

The Goodfellas soundtrack is one for the ages. It illustrated how Martin Scorsese’s careful crafting of a soundtrack comprised of pre-released songs can elevate plot points, convey narrative changes, reinforce or signal developments to themes, and add a great deal of authenticity to a film’s world.

Alexa, play “Gimme Shelter”.

Written by Grace Laidler

Follow Grace Laidler on Twitter: @gracewillhuntin

Home Alone has been considered a Christmas tradition since the moment Macaulay Culkin slapped his cheeks and yelled at the top of his lungs all the way back in 1990, but seeing the John Hughes-written and Chris Columbus-directed picture develop into a franchise of straight-to-video/dvd glorified holiday specials has given the franchise the proverbial “mixed bag” of good and bad filmmaking. In this edition of Ranked, we’re looking at all 6 Home Alone movies (yes there have been 6) and judging them in terms of quality, enjoyability, critical reception and public perception to rank each from worst to best.

Have a favourite Home Alone movie? Let us know in the comments, and follow The Film Magazine on Twitter.

6. Home Alone 4: Taking Back the House (2002)

The fourth entry to the franchise is nothing short of a disaster.

A clear cash grab intended to capitalise on the burgeoning DVD market, this Rod Daniel (K-9) straight-to-TV feature recasts the iconic roles of Kevin McCallister (once played by Macaulay Culkin) and Marv (originally Daniel Stern) and, as if that wasn’t sacrilegious enough, takes the concept to an entirely different level of absurd. Seriously, if you thought a child defending his house from fully grown men via a series of booby traps was absurd, wait ’til you get a load of this…

In Home Alone 4: Taking Back the House, Kevin McCallister must ignore the instructions of his parents and rescue a crown prince from his old foe Marv and Marv’s wife Vera.

It truly is as bad as it seems…

5. Home Alone: The Holiday Heist (2012)

Home Alone 5 (The Holiday Heist) thankfully didn’t regurgitate the great characters from the first Home Alone in some lame attempt to gather an audience, but much like our previous entry did seem like a film written before the Home Alone branding was ever slapped on it.

In many ways another sorry attempt to grab cash from willing and hopeful consumers, rather than a fitting tribute or loving extension to the Home Alone franchise, The Holiday Heist did actually offer brief glimmers of being something more than that of the franchise’s previous incarnation, notably upping the casting quality to include the legendary Ed Asner (albeit in a cameo) and A Clockwork Orange actor Malcolm McDowell.

The movie was directed by Peter Hewitt, the man who helmed Bill & Ted’s Bogus Adventure just a year after the original Home Alone was released and later directed the absurd British children’s comedy Thunderpants (2002), his work on The Holiday Heist at least attempting to replicate some of the feeling of the first few movies, albeit quite poorly.

Recommended for you: I’m a 90s Kid and I Watched Home Alone for the First Time This Year

Make sure to read 10 Best Home Alone Moments before you read this article.

Alone in the most heavily populated city in the United States, Kevin encounters troublesome hotel clerks and the return of some old foes in this much beloved follow-up to one of the greatest Christmas films of all time.

In this Movie List, we at The Film Magazine are examining Chris Columbus’ iconic Christmas sequel for this, the 10 Best Home Alone 2: Lost in New York Moments.

Make sure to follow us on Twitter for updates on more articles like this one.

10. Kevin Calls Uncle Frank a Cheapskate

The film opens with a scene from a Christmas concert at Kevin’s school, the parents of the children all gathered in the audience to watch the show. Kevin’s solo is coming up.

Buzz (Devin Ratray), Kevin’s horrible older brother, plays a prank on him whilst he is singing, causing the whole auditorium to laugh at Kevin’s expense. 

Back at the house, after the event has unfolded, Buzz is apologising to the family for the prank he pulled and the embarrassment he caused his younger brother. Kevin clocks on to the insincerity of Buzz’s apology and stands up to his family, saying he doesn’t want to spend Christmas in Florida anyway. Uncle Frank (Gerry Bamman) tells him not to ruin the trip that Kevin’s father has paid a lot of money for. 

With outstanding delivery from Culkin, Kevin roasts Uncle Frank with one simple line: “I wouldn’t want to spoil your fun Mr. Cheapskate.”

Hilarious.

9. Marv Smiles for the Camera

Marv (Daniel Stern) and Harry (Joe Pesci) have escaped prison and made their way to New York in an attempt to make the Big Apple their new stomping grounds. They find out about a donation drive happening at a big toy store, and when Kevin clocks on to what they’re doing, he follows them there and catches them in the act.

When he sees them robbing the store, Kevin uses his new polaroid camera to snap a shot of them for proof. He shouts, “Hey Guys! Smile!”.

With brilliant comedic timing, and his trademarked goofiness, Marv looks up at the camera and gives it a big grin. 

Written and produced by the king of 80s movies, John Hughes, Home Alone holds a special place in a lot of our hearts and is a must watch around the festive season each and every year.

Thirty years after Macaulay Culkin shot to superstardom as lonely eight year old child Kevin McCallister, we at The Film Magazine are looking back at the original movie’s very best moments for this Top List of the 10 Best Home Alone Moments.

Make sure to follow us on Twitter for updates on more articles like this one.

10. Headcount Mishap

Chaos has hit the McCallister household when, due to a power outage in the middle of the night, none of the alarm clocks in the house go off – cue the line “We overslept!” From Mr and Mrs McCallister. 

As the fourteen family children pile into the airport transport mini vans, a nosey neighbour comes over to see what all the fuss is about. As he is in the back of the mini van, he clambers over all the seats and starts rummaging through the family’s bags. Megan, the oldest McCallister child, is asked to do a “head count” and miscounts the nosey neighbour as Kevin, who is actually curled up in bed unaware of the madness going on around him.

Thinking that everyone is present and accounted for, the family leave for their vacation, resulting in Kevin being (you guessed it) left home alone.

9. Gus Gives Parental Advice

After an attempt to get on a last minute flight home from Paris, Kate McCallister (Catherine O’Hara) finds herself in Scranton, Pennsylvania and her only ride home is to join a Polka tour who have kindly offered to drop her off in Chicago. 

Gus “The Polka King of the Midwest” Polinski, played by the wonderful John Candy, keeps Kate company as they make their long journey back to the Windy City. In the back of their tour van, Gus gives Kate some much needed comfort in justifying her mistake of leaving Kevin behind and confirms to her that she is a good mother. 

Between two parents, Catherine O’Hara and John Candy share a beautiful moment of comfort and kindness. 

Here are the Top 10 Most Streamed Netflix Original Movies:

1. Extraction – 99 million streams
2. Bird Box – 89m streams
3. Spenser Confidential – 85m streams
4. 6 Underground – 83m streams
5. Murder Mystery – 83m streams
6. The Irishman – 64m streams
7. Triple Frontier – 63m streams
8. The Wrong Missy – 59m streams
9. The Platform – 56m streams
10. The Perfect Date – 55m streams

Topping off the list is this year’s Extraction starring Chris Hemsworth (Thor: Ragnarok). The film reunited the global star with producers Joe and Anthony Russo, who directed Avengers: Endgame, coincidentally another record breaker – the highest grossing theatrical film of all time. Of course, the current global situation may be responsible for this film charting so high, as audiences have only had access to streaming for new releases due to theaters being closed. This film was released during the lock down period.

Some of the most acclaimed Netflix originals have not made the list, such as Roma and Marriage Story, which were both heavy awards contenders. The exception to this would be Martin Scorsese’s crime drama The Irishman which was also nominated for a slew of awards, including 10 nominations at the 2020 Oscars.

One reason why this appeared on the list while the other two did not, could be due to the sheer amount of star power: Scorsese, De Niro, Pacino and Pesci to name a few. Audiences are likely familiar with their work and the crime genre, which has proven to be popular in Hollywood for much of the past century with classics such as The Godfather and Goodfellas. Star power is a key factor in a lot of the other films on the list, with most having a big name in the leading role, such as Ryan Reynolds (Deadpool 2; The Hitman’s Bodyguard) in 6 Underground, Sandra Bullock (Demolition Man) in Bird Box and Adam Sandler (Uncut Gems) in Murder Mystery. 

Unlike The Irishman however, a lot of the other films are more action based as opposed to dialogue focused. Triple Frontier, Extraction, Spenser Confidential and 6 Underground are all action films. These are more friendly to casual audiences and therefore reach a wider appeal. This suggests that these films are more entertaining to viewers who just want to watch a film in a leisurely way.

Another commonality some of the films share is their global appeal. Extraction, for example, takes place in India. 6 Underground features a diverse cast and multiple locations, such as Florence and Hong Kong. Murder Mystery is a globe-trotting crime thriller and Triple Frontier is primarily set in South America. Their popularity not only illustrates the importance of representation, but also proves how much of a global player Netflix has become in targeting specific national demographics. Further proof of this is The Platform, which is a Spanish language film.

Overall, we can draw a few conclusions from the data provided. First and foremost, Netflix are relentless in releasing successful original content – they are clearly succeeding and proving that despite the escalation of the streaming wars, they are still sat securely at the top. The data also suggests Netflix follow a formula to make their films as popular as possible. This formula produces films that have a global appeal through a diversity in cast and location, as well as a focus on action, which casts a wider net on the potential audience. Additionally, the inclusion of a big name actor usually results in better viewing figures as it provides familiarity, the service’s latest action hit The Old Guard starring Charlize Theron being a recent example.

For updates on more stories like this one, follow The Film Magazine on Twitter.

Goodfellas (1990)
Director: Martin Scorsese
Screenwriters: Nicholas Pileggi, Martin Scorsese
Starring: Ray Liotta, Robert De Niro, Joe Pesci, Lorraine Bracco, Paul Sorvino, Frank Sivero, Tony Darrow, Mike Starr, Frank Vincent, Chuck Low, Samuel L. Jackson

Goodfellas is one of Martin Scorsese’s best received works and startlingly this year sees his mob masterpiece reach the tender age of 30. Unsurprisingly it remains as vital as ever and is still one of the finest films of the past 3 decades, as well as in the entirety of Scorsese’s legendary filmography. In light of the success found in his return to the genre with 2019’s The Irishman, it is worth revisiting one of the high points of a genre with which Scorsese has so clearly associated.

Goodfellas, whilst not being a hugely successful film at the Box Office in 1990, has become a cult favourite and one of Scorsese’s most recognisable films. With legendary critic Roger Ebert writing upon its release that “No finer film has ever been made about organized crime – not even The Godfather“ in an indication of public sentiment towards the film, Goodfellas is currently placed at 17 on IMDB’s top 250 films of all time and is Scorsese’s highest placed film on this particular list.

The film takes a detour from the narrative route Scorsese had taken with the likes of his character studies Mean Streets and Taxi Driver, to focus Goodfellas on the life of Ray Liotta’s Henry Hill, from childhood to his fully formed part of Mob life. It is an unflinching look at the brutality of the life these characters choose to lead with violence aplenty.

Goodfellas is one of the finest acted films Scorsese has released and features the best career work of Ray Liotta as well as a strong supporting performance from Robert De Niro in what was at this point his 6th collaboration with Scorsese – his first since The King of Comedy 7 years earlier. In one of her earliest roles, Lorraine Brasco excels and was rightly nominated for an Oscar for best supporting actress, this performance coming 9 years before her acclaimed role in ‘The Sopranos’. A case could even be made for Karen being one of Scorsese’s best female characters, certainly in his mob films. Some 3 decades on, and it’s Joe Pesci who remains the film’s particular highlight and the master of its superbly acted ensemble however, the actor displaying his full range and proving explosive in almost every scene, his performance winning the Oscar for Actor In a Supporting Role.

As one would expect with a Scorsese picture, the period attention to detail is sublime, really evoking the decade each section is set in. The early part of the film focuses on Henry’s childhood in the 1950s and the picture subsequentily works its way through the 60s to the 80s. Brilliant soundtracks are one of Scorsese’s hallmarks, and this is one of his finest, comprising an eclectic mix of soul, rock n roll, jazz and blues classics to fit the mood of the particular period the film is focused on. The sound makes use of a plethora of tracks from the Rolling Stones and features other iconic acts such as Muddy Waters, The Who and George Harrison. Scorsese would of course go on to make acclaimed documentaries on both Harrison and The Rolling Stones.

Watching Goodfellas after having watched 1995’s Casino and The Irishman, the trio work incredibly well as nuanced variations on mob life as they all touch on different aspects of the lifestyle. The Irishman and Goodfellas in particular are only really similar in subject matter, and as overall films are actually worlds apart in both message and style. It is perhaps a sign of the quality of Goodfellas that Scorsese’s subsequent films in this genre live somewhat in its shadow, Goodfellas remaining a high point in a career that has also brought us the aforementioned films and Scorsese’s only Best Directing Oscar for The Departed.

While there have been a fair few films focusing on the mob since 1990, few have achieved the same staying power, legacy and adoration as Goodfellas. Arguably it is not only Martin Scorsese’s most critically revered of the past 3 decades but it is also his most beloved by fans. In a genre that has produced some of the finest films of the 20th Century, from the Godfather Parts I & II, to Once Upon a time in America, Goodfellas rightly sits in the top tier of classics and showcases one of America’s finest directors at the top of his game.

22/24

Written by Christopher Connor

You can support Christopher Connor in the following places:

Twitter – @chrisconnor96

As 2019 ends and the conversations of the behind-the-scenes mechanations of the industry dwindle, it will be the artistry put to screen that we shall most fondly remember. And, in a year of releases filled to the brim with modern auteurs, acting masterclasses and high quality genre fare, there has been almost too much great cinema to handle… almost.

In this list, it is my intention to outline the 10 best releases of the 2019 UK cinema release schedule; the films we’ll be talking about for years to come. Hopefully there’ll be a few that will inspire you to check out something new, though the boundary of UK release dates does mean that the likes of Portrait of a Lady on Fire, Jojo Rabbit, Parasite, Uncut Gems and The Lighthouse will not be eligible for selection.

Have an opinion? Make sure to leave a comment or tweet us!

10. Capernaum

Nadine Labicki’s blend of documentary and drama for the 2019 Foreign Language Oscar contender Capernaum offered a unique cinematic experience that, when paired with the film’s heart-tugging narrative and the allegory it presented regarding the people of Lebanon, made for one of the most emotionally draining but beautifully constructed movies of the year.

Zain Al Rafeea was a revelation as the 12 year old Lebanese boy who runs away from his abusive, emotionally damaging, dangerous and impoverished home in search of something new, while Labicki handled the project so carefully as to illustrate the struggles of her region in stark contrast to the privileges of our own while avoiding the trap of making a poverty vacation on film.

Praised for being “real”, Capernaum was far more than that; it was a strong and at times even poetic offering with layer after layer of allegory, metaphor and political commentary to unravel.

9. Sorry We Missed You

Sorry We Missed You (2019) Review

Legendary director Ken Loach speaks to the struggles of the working class in a way that no other filmmaker does on such a consistent basis, and in his 2019 Cannes competition entry Sorry We Missed You, the filmmaker behind Kes (1969) and 2016’s Palme d’Or winner I, Daniel Blake took multi-billion dollar corporations to task over reduced rights for workers, bringing into question over a decade of policies set forth by governments on both sides of the atlantic following the banking crash of 2008.

What Loach excels in is creating empathy, with fully formed characters given room to grow within the movie and therefore hit the biggest emotional gut punch possible, often with untrained or at least non-famous actors, and in Sorry We Missed You he hit another peak of his catalogue, directing a film that not only spoke of a great, deeply held and sorry truth in our modern society, but one that was also relateable and truly heart-wrenching.

If I, Daniel Blake was our quiet rage, then Sorry We Missed You was our impassioned cry for help.

Recommended for you: I, Daniel Blake (2016) Review

8. For Sama

A documentary that will flatten you, For Sama, from the frontlines of the civil war in Syria, is not only one of the most affecting and tragic movies of 2019, but also one of the most important.

Filmed in war-torn Syria from the uprising of the revolution to the current day by journalist Waad Al-Kateab, and addressed directly to her daughter with whom she chose to stay in the country’s most populous and dangerous city of Aleppo, this personal tale of existing within a warzone imposed by one’s own government excels in presenting universal moments of pride, passion and most sadly grief, making for an unmissable, empathy-driving piece of cinema that is truly unique in its insight, timing and political significance.

The Irishman (2019)
Director: Martin Scorsese
Screenwriter: Steven Zaillian
Starring: Robert De Niro, Joe Pesci, Al Pacino, Stephen Graham, Anna Paquin, Ray Romano, Jesse Plemons, Harvey Keitel, Bobby Cannavale, Jack Huston

A thrilling, nostalgic and self-retrospective gangster movie from a directorial master of the form, The Irishman, based on the novel “I Heard You Paint Houses” by Charles Brandt, is epic in both run-time and contents, the superb control exerted upon the narrative’s scopious amounts of information by the great Martin Scorsese making for a truly extraordinary moment in American cinema in 2019.

Once Upon A Time in America… an indelible piece of the American way was the honourable gangster, and despite how great his movies were and have continued to be, the same holds true of the work of Scorsese, The Irishman signalling a return to the genre he moulded from the black and white of Classic Hollywood into a contemporary powerhouse through movies like Mean Streets, Goodfellas and The Departed. This revisitation, and his much anticipated reunions with Robert De Niro and Joe Pesci, make for a movie that in of itself must be considered a proverbial wave goodbye to the very figures that have made such an incomparable impact upon his work. In this respect, The Irishman feels like not only a retrospective on Scorsese himself, his gangster films or even the gangster genre as a whole, but as a loving last hurrah to the great and powerful work of his closest collaborators; Robert De Niro, Joe Pesci and Al Pacino offering truly exceptional work (in some cases for the first time in years) in this powerful film.

While The Irishman unfortunately doesn’t feature a sweeping score to the same exceptional levels of Ennio Morricone’s work on Sergio Leone’s American crime epic Once Upon a Time in America (1984), there are certainly similarities between the two projects, not least the epically scaled time-hopping sagas at the hearts of each of them.

Told over three distinct periods of lead character Frank’s (De Niro’s) life, with further flashbacks and flash-forwards included from time to time, The Irishman takes on an immediately difficult to navigate time frame and scale, but with Scorsese in the driving seat it never gets out of control. Scorsese, like the very best of directors from his era, has a particular affinity with re-purposing and re-analysing the mythos of Americana, and through this decades-spanning narrative is able to pass comment on monumental moments in American history such as the assassination of John F. Kennedy and the disappearance of Jimmy Hoffa.

This mythological exploration of course brings commentary on the “better” or “worse” ways of American life, but rather than leaning particularly hard in either direction, The Irishman seems to focus on creating a tangible representation of the sense of dread, regret and perhaps even nostalgia that comes with age or more notably death. It’s not that the picture is celebratory of ageing people or old age, more that it gives voice to the feeling of seeing life in all of its intricacies and all of its specifics quickly drain out of view. As much as it is a gangster film, and it truly is a gangster film, The Irishman is about the tragedy of time; the temporariness of life.

This is where the film’s notorious attempts to digitally de-age its lead actors came to take on more meaning than a simple party trick as, rather than casting different actors (as Leone did in OUATIA), the very purpose of de-ageing was intrinsic to the heart of The Irishman’s purpose, the casting being entirely appropriate for provoking our own senses of nostalgia and questions about age, what constitutes a person’s prime and so on.

The technique of de-ageing the central cast is, overall, particularly good. Though at first the effect is quite jarring – there always seems to be something about reflections, especially in the eyes, that they struggle to hit the bullseye with – it soon becomes utterly believable and (in the best way) entirely forgettable. There are some sequences that are well and truly remarkable in their digital artistry, and knowing that Scorsese was able to utilise this in a deep and artistic manner is truly a breath of fresh air.

De Niro is the actor most focused upon for this process, Pesci always playing an older man, and thankfully the CG didn’t detract from what was a tremendous performance. As the narrator, De Niro was the focus of the entire piece, his gravitas and monumental abilities coming to forge a character so strong that De Niro faded into Frank, an awards season push being sure to follow. Seeing the return of Joe Pesci to the big screen was also worth the wait, the legendary actor of Scorsese’s own Goodfellas bringing back the evil behind his eyes for a particularly impressive supporting performance. Pacino, although present less than his fellow cast members, was given a lot of scope to reproduce what we know and love of his more elaborate later work, but there are moments in The Irishman where the actor’s subtlety is truly gravitating, even scene stealing, making for a triumvirate of exceptional performances.

The Irishman is, then, a triumph in all aspects but particularly those of the filmmakers at its heart, this latest Scorsese film being an exceptional piece of cinema worth every second of its three and a half hour run-time and rumoured $200million budget – it seems Netflix were correct to put all their chips in on the project for a Best Picture Oscar because it certainly seems to be a front-runner.

In a world where Hollywood makes all of the industry’s money but it is international film taking the most extraordinary steps in the art-form, Scorsese has reminded us of the profoundly influential nature of American cinema in all of its artistic glory with the profound and quite spectacular The Irishman.

21/24

*Slap face in shock*

I know, I know. In my defence, for the first three years of my life I exclusively watched Beauty and The Beast (1991) and then I started reading.

So, to get myself into the Christmas spirit, I thought I’d sit down with the film that gets the biggest ‘oh my god, what? Are you joking? Seriously?’ response when I say ‘I haven’t seen [insert name of iconic film here]’.

For the two of you who don’t know, Home Alone is the story of Kevin McCallister – played by a youthful, pre-drugs Macaulay Culkin – who is left ‘home alone’ when his family go on a Christmas vacation to Paris. ‘When I grow up and get married, I’m living alone’ – yes Kevin I’m with you on that one. When he wakes up to find his family gone, he thinks a Christmas miracle has happened – cue montage of what we all should do when we are home alone: eat ice cream and watch movies (although as an adult I would not jump on the bed because I paid for that mattress). Now, because it’s the holidays, burglars are taking the opportunity to rob all the houses of the rich people that abandon their homes for warmer climates. Top Tip: don’t tell a stranger you are going away for the holidays because they will rob you. Kevin therefore has to defend his house from an evil duo who have tagged themselves as “The Wet Bandits”, which leads to a slapstick series of booby-traps that did make me laugh out loud.

My first and most important question that isn’t answered while watching this film is… (fear not, this is not going to one of those pieces that says, ‘How could parents forget a child?’, because I am able to suspend my disbelief about that)… ‘Why is everyone so horrible to Kevin?’

There is no back story to suggest that he’s a bad kid, he just wants someone to help him pack and to eat the pizza that has been ordered for him. Seriously, I’m not surprised Kevin was happy his family disappeared. If Buzz was my brother I’d be like, “great he’s gone, thank you baby Jesus”.

Another major thing that I want to pick out that annoyed me was “the Kevin scream”. My whole life I had assumed that Kevin’s scream was because of the people robbing his house or at the realisation that he had been left by his family. But alas, the scream is because he has put aftershave on his cheeks. Kevin has not shaved therefore he hasn’t opened his pores therefore it would not hurt that much! I feel cheated by the poster of the movie.

Despite my nit-picking, Home Alone is a great film and a really enjoyable movie experience. It has truly given me more cultural capital than my undergraduate degree. No longer will I have to false laugh at ‘Merry Christmas you filthy animal’ and I now understand my pub quiz team name “The Wet Bandits”. Now that I finally understand these things, the influence and reach of this movie is clear, and I understand why people are so shocked that I am alive and had never seen it.

Recommended for you: Home Alone Movies Ranked

I usually find that movies from the early 90’s feel really dated. However, this isn’t the case with Home Alone. It is funny and relatable. It’s like Kevin invented the Vlogger morning routine video, and him asking if the toothbrush is approved by the American dental association is exactly the kind of question people ask me in my retail job. Most importantly, Kevin’s fake party is better than most real parties I have ever been to. As I noted, the defending the house sequences are genuinely funny and silly in the best way.

The ending of this film is also so heart-warming – how have I never seen this? Kevin is so happy to have his family back, another Christmas miracle. The moral I took from this movie is: love your family. Even if they are not nice people and literally forget about you. Also, isn’t there another Home Alone where they forget Kevin again? I guess I’ll have to wait to see whether I should give up on this family. But Kevin… I love you. You are my spirit animal- ‘a lovely cheese pizza just for me’.

Now to finally watch Die Hard for the first time…

Netflix began in 1998 as a DVD by mail company similar to the Love Film model of days gone by, transitioning into the video streaming service in its second iteration. This development has meant that it is now even easier to enjoy the latest releases from the comfort of your own home than it has ever been before, leaving the question: with a revenue of $6.8 billion dollars and its foray into ‘Netflix Original’ content, should Hollywood be concerned with the Netflix model?

Holding a monopoly on the production, distribution and exhibition of popular movies and shows exclusive to Netflix, and promising to spend $6 billion on television and film content in 2017 alone, it is easy to see why so many high-ranking and/or influential industry professionals (from show-runners to directors) are being lured to the pot of gold at the end of the rainbow, and why Hollywood has begun to look over its shoulder.

With Hollywood seemingly fixated on the tried and tested Superhero franchise, massive CGI effects-driven pictures and their re-branding of generic scripts starring A-list celebrities playing the same role under a different guise (looking at you Mr Cruise), it’s become the norm to assume that if a film doesn’t feature something exploding into a huge ball of flames, it’s unlikely to make it onto our cinema screens. Thus, a niche in the market may have fallen into Netflix’s lap.

Hollywood has been long-considered to have taken independent cinema for granted; she’s grown disillusioned, packed her bags and decided the new younger, clean cut Silicon Valley upstart can provide the much needed attention she has been craving. Netflix, Amazon and Hulu are buying up scripts, developing more original, more innovative material, and taking risks on independently produced films, scouring the likes of Sundance, trawling through the likes of Toronto; a pastime that big wigs at Hollywood can no longer afford to gamble on.

While film production companies play it safe with remakes, sequels and their monthly output of superhero films, it has become increasingly easy to see the appeal of the Netflix model; one which is seemingly set up for filmmakers who still hold storytelling and cinematography close to their heart.

Martin Scorsese’s The Irishman starring Robert De Niro, Joe Pesci and Al Pacino, is one of the latest film rights to be purchased by Netflix, after previously being held by Paramount Pictures, a news story that illustrates the growing trend of filmmakers transitioning to the pay monthly service. Indie director David Michôd (Animal Kingdom) is another example of this, joining forces with Brad Pitt for feature film War Machine which was made for a whopping $60million, proving Netflix’s financial muscle.

David Fincher’s first foray into TV with the enigmatic Kevin Spacey in ‘House of Cards’ proves the success film directors are finding online, with over half of all Netflix subscribers having binge watched at least 3 episodes of the first 3 seasons in a single day within the first month of release. In 2017, Fincher’s latest series, FBI drama ‘Mindhunter’, is set for release within the Netflix Original format in October and features a strong list of respected names including fellow executive producer Charlize Theron.

The narrowing divide in production values between TV and film as overall entities offers many opportunities to the VOD services. In many respects TV can be considered crisper and glossier than it ever has been, thus inherently looking cinematic. A freeze frame from Game of Thrones would rival even the biggest budget Hollywood blockbuster, and the fluidity of transferring from TV producer to Film production provides untold benefits, the talent through which ideas are sparked/managed being only the tip of the iceberg.

The Netflix business model works on subscriptions sold, and moving away from the more rigid system of judging success by viewing figures allows auteurs and producers the artistic freedom to realise their visions without the same level of compromise they may experience elsewhere, particularly if they’re in the adolescence of their careers. Netflix content officer Ted Sarandos explains how “they are making movies for where the audience is”, and that seems to be the defining factor in the seismic shift taking place in Hollywood; Netflix do not need to bankroll an extensive marketing campaign to attract their film audience as their subscribers are almost always already there, binge viewing through countless hours of guilty pleasures, forgotten gems and now original content. Hollywood is at a defining cross roads. Could VOD kill the cinema star?

The transition from TV streaming service to film producers has not been plain sailing, and a brief exploration of Rotten Tomatoes will open eyes to the ratings of 0 (yes ZERO) for Netflix’s exclusive Adam Sandler film The Ridiculous 6 (2015). This highlights the difficulty faced, but in spite of critical damnation Netflix have announced that since December 2015 Netflix subscribers have consumed over 500 million hours of Adam Sandler movies, thus proving that the model clearly works. Fast forward to the 2017 Oscar ceremony… both Netflix and Amazon have arguably cemented their status as elite film producers, with Manchester by the Sea receiving Best Original Screenplay for Amazon, and Netflix’s eye opening documentary The White Helmets taking Best Documentary Short.

The size of the threat to Hollywood may be determined by the reception of these new ideas and inputs from audiences and subscribers alike. Can upcoming original films pull off the big screen spectacle and provide the cinematic experience of opening week viewings in the traditional sense of Hollywood films? Movies like War Machine may be viewed entirely on small screens, but advancements in technology – curved screens, 4K with sizes pushing the 75” mark – may well make home entertainment a viable alternative to the big screen.

Perhaps the Netflix transition to filmmakers can provide healthy competition to the big six? Perhaps it will give the wake-up call many think Hollywood needs? Perhaps not. When is the next Avengers film released anyway?

By Lee Royle

You can follow Lee on Twitter: @MrRoyle_Media