#robert de niro
![2015 - The Best of Film — [20/25] → Joy“Don’t ever think that the world owes you anything, because i](https://64.media.tumblr.com/b7dd26bd283883953b09eaf1e505ec3c/tumblr_o4b0b0ua0K1tt2s2ko5_250.jpg "2015 - The Best of Film — [20/25] → Joy“Don’t ever think that the world owes you anything, because i")
2015 - The Best of Film— [20/25]
→ Joy“Don’t ever think that the world owes you anything, because it doesn’t. The world doesn’t owe you a thing”
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Number 2 on my list, maybe- that’s a tough call to make lol. Anyway, I love redone movie posters!
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Happy 74th birthday to Liza Minnelli!
“New York, New York, Scorsese’s splashy, cynical, and masterfully-made postwar musical, was egregiously cold-shouldered upon its release, as was the singular star turn of Liza Minnelli, doing an adoring yet galvanizing variation on Mama Judy Garland’s legendary A Star is Born role. As Francine Evans, an aspiring 1940s singer who falls under the influence of De Niro’s callous, captivating saxophonist, Minnelli is perpetually in motion, propelled by an insatiable need to please audiences and lovers alike. Minnelli is, of course, a stupendous, show-stopping singer-dancer with a walloping and finely honed talent that decidedly belongs to the bygone studio era in which her mother rose to otherworldly stardom. Minnelli’s artistic mastery is startlingly reminiscent of Garland’s yet differentiated by the pure, jubilant passionshe exudes at all times when performing; has any artist ever radiated more graciousness for an audience’s gaze than Minnelli, as if the enormity of her abilities didn’t already demand our undivided attention? But, more than anything else, it’s the actress’ tough-minded, deeply-felt emotionality—culminating in an elevator descent of tremulous, heartbroken stillness—that proudly places her Francine beside Garland’s Vicki Lester, Julie Andrews’ Maria von Trapp, Barbra Streisand’s Fanny Brice, and Minnelli’s own Sally Bowles in the eternal pantheon of preeminent, pitch-perfect musical performances.” — Matthew Eng
The 10 Best Female Performances in Martin Scorsese Films
(Source:TribecaFilm.com)
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Happy birthday, Sharon Stone!
“Nothing and nobody else matters in Martin Scorsese’s Casino whenever Sharon Stone’s decadent and devastating Ginger McKenna slinks into a frame. Playing a bona fide hustler unhappily betrothed to De Niro’s smitten casino honcho, Stone is the single most striking element in Scorsese’s fact-based Las Vegas crime saga. The actress can take our breath away just by strolling into a room in a beautifully beaded Bob Mackie gown, but she’s also playing a real, anguishing woman to never less than riveting effect. Stone’s voluptuous emotional shadings make us believe every stage of Ginger’s ever-shifting character, whether it be the scam artist with a criminal knowledge to rival any man’s, the codependent lover, the keyed-up addict, or the materialistic housewife itching to get out of her lavish prison at any cost, even if it means offing her husband/jailor with the help of his equally infatuated best friend. Stone never sands down Ginger’s rough edges and her strident, exceptionally physical blow-ups in the film’s final act conjure an intricate and unabating intensity that some critics like to pretend is the exclusive provenance of men in Scorsese’s movies; they’re wrong, and Stone’s superb and rightfully iconic performance is the enduring proof.” — Matthew Eng
The 10 Best Female Film Performances in Martin Scorsese Films
(Source:TribecaFilm.com)
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Marvin’s Room (1996) dir. Jerry Zaks.
Lisa Bonet / ANGEL HEART(Alan Parker, 1987)
