美國(guó)導(dǎo)演馬丁·斯科塞斯的每一部電影，從最差到最好的排名

After receiving his 10th Oscar nod with 2023's Killers of the Flower Moon, Martin Scorsese officially became the most-nominated living filmmaker in the Best Director category. Over his unparalleled career, the filmmaker has helmed at least one masterpiece in every decade since the 1970s, many of which have influenced multiple generations of directors and cinephiles. Though he’s most often associated with exhilarating crime sagas like Goodfellas and The Departed (not to mention his depictions of violence), Scorsese has repeatedly proven to be adept at practically every genre, from religious epics and cerebral thrillers to black comedies and domestic dramas. Oh, and there's his prolific documentary work, which has chronicled prominent artists in music, film, and journalism. Without further ado, here’s EW’s ranking of every Martin Scorsese movie.
馬丁·斯科塞斯憑借2023年的《花月殺手》第十次獲得奧斯卡提名，正式成為最佳導(dǎo)演提名最多的在世電影人。在他無(wú)與倫比的職業(yè)生涯中，自20世紀(jì)70年代以來(lái)，這位電影制作人每十年至少執(zhí)導(dǎo)一部杰作，其中許多作品影響了幾代導(dǎo)演和影迷。雖然斯科塞斯最常與《好家伙》和《無(wú)間道風(fēng)云》等令人振奮的犯罪傳奇聯(lián)系在一起(更不用說(shuō)他對(duì)暴力的描繪了)，但事實(shí)證明，他幾乎擅長(zhǎng)所有類型的電影，從宗教史詩(shī)、大腦驚悚片到黑色喜劇和國(guó)內(nèi)電視劇。哦，還有他多產(chǎn)的紀(jì)錄片作品，記錄了音樂(lè)、電影和新聞?lì)I(lǐng)域的杰出藝術(shù)家。話不多說(shuō)，下面是《娛樂(lè)周刊》對(duì)馬丁·斯科塞斯每部電影的排名。

Scorsese’s second narrative feature is his only project that never quite clicks or has much to say. An exploitation film set during the Great Depression and produced by B-movie mogul Roger Corman, Boxcar Bertha tells the loose, meandering story of a southern bank robber (Barbara Hershey). Scorsese’s natural eye for visuals ensures that there’s a handful of inspired shots — and his creative collaboration with Hershey ultimately proved fruitful, as it led to The Last Temptation of Christ — but the overall project is the lone dud in the director’s filmography.
斯科塞斯的第二部敘事故事片是他唯一一部既不太吸引人也沒(méi)有太多話要說(shuō)的作品。這是一部以大蕭條為背景的剝削電影，由b級(jí)電影大亨羅杰·科曼制作，講述了一個(gè)南方銀行搶劫犯(芭芭拉·赫爾希飾)松散而曲折的故事。斯科塞斯對(duì)視覺(jué)效果的天生眼光確保了影片中有一些充滿靈感的鏡頭——他與好時(shí)公司的創(chuàng)造性合作最終證明是富有成效的，因?yàn)樗鼘?dǎo)致了《基督的最后誘惑》——但整個(gè)項(xiàng)目是這位導(dǎo)演的電影作品中唯一的啞巴。

Believe it or not, Scorsese has directed more music documentaries than gangster movies, and even the weakest among them has a decent amount of propulsive energy to it, thanks largely to the Rolling Stones’ undeniable on-stage charisma. The film is a pretty straightforward concert doc, capturing the Stones’ 2006 show at the Beacon Theater on their A Bigger Bang Tour, which features guest performances from Christina Aguilera, Jack White, and Buddy Guy. The most compelling moments are the bursts of archival footage where the younger Stones contemplate their longevity. It’s a solid piece of concert filmmaking, but not quite on the level of Marty’s other musical ventures.
信不信由你，斯科塞斯導(dǎo)演的音樂(lè)紀(jì)錄片比黑幫電影多，即使是其中最弱的也有相當(dāng)多的推進(jìn)能量，這在很大程度上要?dú)w功于滾石樂(lè)隊(duì)無(wú)可否認(rèn)的舞臺(tái)魅力。這部電影是一部相當(dāng)直白的演唱會(huì)紀(jì)錄片，記錄了2006年滾石樂(lè)隊(duì)在燈塔劇院的“大爆炸”巡演，克里斯蒂娜·阿奎萊拉、杰克·懷特和巴迪·蓋伊都在演出。最引人注目的時(shí)刻是檔案鏡頭的爆發(fā)，年輕的斯通思考他們的壽命。這是一部扎實(shí)的音樂(lè)會(huì)電影，但與馬蒂的其他音樂(lè)冒險(xiǎn)相比還差得遠(yuǎn)。

Martin Scorsese, Francis Ford Coppola, and Woody Allen each helmed a segment for this anthology film. Scorsese’s piece of the movie, Life Lessons, stars Nick Nolte as a troubled painter who channels his complex feelings toward his ex-girlfriend/assistant (Rosanna Arquette) — jealousy, anger, attraction — into his pieces. The short is quite strong and easily the best of the trio, as Coppola’s cutesy sequence in the middle is grating from its opening minutes, and Allen’s unsurprisingly neurotic finale never lives up to its full potential, so the overall viewing experience is disappointingly unbalanced.
馬丁·斯科塞斯、弗朗西斯·福特·科波拉和伍迪·艾倫分別為這部選集電影執(zhí)導(dǎo)了一段。斯科塞斯改編的電影《人生課程》由尼克·諾爾特主演，他飾演一位陷入困境的畫家，將他對(duì)前女友兼助理(羅莎娜·阿奎特飾)的復(fù)雜感情——嫉妒、憤怒、吸引——宣泄到自己的作品中。這部短片相當(dāng)有力，很容易成為三部影片中最好的一部，科波拉在中間的可愛(ài)片段從一開始就讓人惱火，而艾倫毫無(wú)懸念的神經(jīng)質(zhì)結(jié)局從來(lái)沒(méi)有發(fā)揮出它的全部潛力，所以整體的觀看體驗(yàn)令人失望地不平衡。

Scorsese’s first project with Leonardo DiCaprio came in this unwieldy historical crime epic, which chronicles the violent conflict between Catholic and Protestant factions in 1860s Manhattan. There’s a lot to love in Gangs of New York — sprawling period sets, exhilarating battle sequences, Daniel Day-Lewis’ turn as Bill the Butcher — but its pacing feels more uneven than in the director's other lengthy films. And it certainly doesn’t help that Scorsese fought over the final cut of the film with producer Harvey Weinstein, who insisted on a shorter, more commercial runtime. Scorsese’s fixation on worldbuilding and historical detail seems to create a detachment from the characters’ emotions and motivations; everyone feels much more thinly–sketched than the players in most of his other work.
斯科塞斯與萊昂納多·迪卡普里奧合作的第一部電影是這部笨重的歷史犯罪史詩(shī)，講述了19世紀(jì)60年代曼哈頓天主教和新教派系之間的暴力沖突?！都~約黑幫》有很多讓人喜歡的地方——龐大的時(shí)代背景，激動(dòng)人心的戰(zhàn)斗場(chǎng)面，丹尼爾·戴·劉易斯飾演的屠夫比爾——但它的節(jié)奏感覺(jué)比導(dǎo)演其他冗長(zhǎng)的電影更不平衡。當(dāng)然，斯科塞斯與制片人哈維·韋恩斯坦(Harvey Weinstein)就影片的最終剪輯進(jìn)行了爭(zhēng)執(zhí)，后者堅(jiān)持要更短、更商業(yè)化。斯科塞斯對(duì)世界構(gòu)建和歷史細(xì)節(jié)的執(zhí)著似乎脫離了角色的情感和動(dòng)機(jī);在他的其他作品中，每個(gè)人都覺(jué)得自己比球員更膚淺。