By Søren Hough
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We sit entrenched in an Irish mob den. Here, anyone could be a mole and thus everyone toes Death’s door. Then we are transported to an island, where a man is unsure of what is real, and what isn’t. His feverish nightmare reaches its peak before bringing his world down around him. And now we are in Paris, France, as snow falls quietly in front of a massive clock. Behind its imposing face, two young children discover the secrets of a filmmaker in hiding.
Given Martin Scorsese’s recent films, it’s no surprise there was backlash when he released The Wolf of Wall Street (2013). It’s been more than 20 years since the legendary filmmaker pushed the boundaries of the social conscience. Particularly after Hugo (2011) won five Academy Awards, the public image of Scorsese has been tempered with that of a straightforward, audience-pleasing director. When he followed up the kid-friendly Hugo with the extremely adult The Wolf of Wall Street, audiences seemed to forget that the latter, not the former, is business as usual for the director.