Review: Leo is charismatically loathsome as 'The Wolf of Wall Street'
Leonardo DiCaprio's most charismatic performance ever anchors Martin Scorsese's robust and raunchy lowlifes-of-high-finance comedy “The Wolf of Wall Street.” This is their greatest teaming, a veritable “Citizen Kane” of the post-“greed is good” era — three hours of cocaine and orgies and high-living by the sorts of gauche gamblers who brought that age, and the world economy, to its knees.
It is Scorsese's “La Dolce Vita,” a manic, coke-fueled stock-market “Goodfellas” following the rise and epic fall of a crook. All that's missing are the victims and the outrage.
DiCaprio is Jordan Belfort, an eager-beaver young broker-in-training who takes the mesmerizing patter from his drugs, sex and making-money mentor Mark Hanna (Matthew McConaughey) to heart. The name of the game, Hanna purrs, is “moving the money from the client's pocket to your pocket.”
A light goes off in idealistic Jordan's head. It's all about commissions, shady deals, getting rich because “money makes you a better person.”
But this isn't Oliver Stone's preachy, good-man-falls-far opera “Wall Street.” This is about Jordan's layoff during the financial crash of 1987 and his rebirth as a penny stocks-trading bottom feeder, the sort of smooth, money-printing huckster who lures proteges and followers like a revival preacher. Donnie (Jonah Hill) is the first.
That's the genius of this. The savvier Wall Street pundits noticed how brokers, traders and derivatives specialists went from making a very good living in the early Reagan years to making obscene amounts of money by the end of the Reagan years. “The Wolf of Wall Street” captures the delusional, under-educated ignoramuses with nothing but hunger who nag clients into buying stocks that might make them money, might lose money. But either way, these guys got paid.
DiCaprio brings a religious fervor to this performance. His Jordan Belfort is a combination of Oral Roberts and Joel Osteen, pep-rallying his flock to his prosperity gospel.
Hill, wearing shiny, fake teeth and that boyish hedonism that's been his trademark, brings a crackling, improvisational feel to his scenes with DiCaprio, a blur of words and blow blasting from one to the other as they cannot believe how rich they're getting and how they're squandering all this money.
The otherworldly beauty Margot Robbie plays “The Duchess of Bay Ridge,” stunning but just as New York working class as any of them once she opens her “Guinea Gulch” (Italian-Brooklyn) mouth.
Three hours might not seem excessive for a satiric indictment of Wall Street ethics. But there are too many scenes that show the high-rollers' endless array of human failings and petty ambitions.
Roger Moore is a staff writer for McClatchy-Tribune News Service.
Show commenting policy
TribLive commenting policy
You are solely responsible for your comments and by using TribLive.com you agree to our Terms of Service.
We moderate comments. Our goal is to provide substantive commentary for a general readership. By screening submissions, we provide a space where readers can share intelligent and informed commentary that enhances the quality of our news and information.
While most comments will be posted if they are on-topic and not abusive, moderating decisions are subjective. We will make them as carefully and consistently as we can. Because of the volume of reader comments, we cannot review individual moderation decisions with readers.
We value thoughtful comments representing a range of views that make their point quickly and politely. We make an effort to protect discussions from repeated comments either by the same reader or different readers.
We follow the same standards for taste as the daily newspaper. A few things we won't tolerate: personal attacks, obscenity, vulgarity, profanity (including expletives and letters followed by dashes), commercial promotion, impersonations, incoherence, proselytizing and SHOUTING. Don't include URLs to Web sites.
We do not edit comments. They are either approved or deleted. We reserve the right to edit a comment that is quoted or excerpted in an article. In this case, we may fix spelling and punctuation.
We welcome strong opinions and criticism of our work, but we don't want comments to become bogged down with discussions of our policies and we will moderate accordingly.
We appreciate it when readers and people quoted in articles or blog posts point out errors of fact or emphasis and will investigate all assertions. But these suggestions should be sent via e-mail. To avoid distracting other readers, we won't publish comments that suggest a correction. Instead, corrections will be made in a blog post or in an article.
- Review: ‘Maps to the Stars’ gets lost in Hollywood’s cosmic depravity
- Review: ‘Chappie’ chafes, and not in a good way
- Review: Second ‘Hotel’ visit isn’t nearly as ‘Exotic’
- Review: ‘Leviathan’ carries huge weight of deep dread
- Review: ‘Unfinished Business’ should have closed deal for better laughs
- DVD reviews: ‘Foxcatcher,’ ‘The Humbling’ and ‘The Captive’
- ‘Let It Snow’s’ big-name cast filming all over Western Pennsylvania
- From ‘Pulp Fiction’ to Oscar meme, Travolta’s had his highs and lows
- Dan Stevens cast as Beast opposite Watson’s Beauty