Hollywood elite donned their designer gowns and tuxes as they lauded themselves for exposing the grotesque and horrifying excess of Belfort's world. And then did what? Retreated back into their relatively modest and understated lives?
In all, the show was no enormous shame, a few good jokes, no great shocks. But the program did its job. It honored those who labored long and hard in the film industry this past year. And maybe that's all we should expect.
This year's crop of best acting nominees in the lead and supporting roles somehow manage to represent the archetypes of every person you've ever dated. To wit...
Honesty, integrity and openness have to be at the center of efforts to improve lives for citizens all over the globe. That's why the Accountability Lab and ONE Campaign have teamed up on the Honesty Oscars this week.
This year the top movies reflect the hopes, fears, and obsessions of their audiences, and so they offer us a chance to reflect on what these films can teach us. As our opening images suggest, one of the primary themes of our current films is one of our current dilemmas: Why do we feel so alone in a world in which it is possible to be connected 24/7?
Just how rare Philip Seymour Hoffman was as an artist is often difficult to properly articulate, especially when considering the modern age of Hollywood and what tends to define a leading man.
Grosso says Jack's visit sent Rao's influential clientele into a tizzy but what was so heart-warming was that Nicholson himself had presented the Best Picture Oscar to The French Connection's producer Phil D'Antoni back at the 44th Academy Awards.
For all these reasons, and not just one, I'm going against the grain of what appears to be the general consensus and strongly suggest that Leonardo DiCaprio deserves the Oscar this year for The Wolf of Wall Street, even more than favorite Matthew McConaughey.
Since the dawn of storytelling, good guys with strong moral compasses were glamorized, while bad guys with wayward moral compasses were vilified. But a slew of recent films and shows have turned gray to black.
Years from now, after the human race has been mostly wiped off the face of this planet, some surviving anthropologist may look to the film The Wolf of Wall Street for clues as to what happened to us.
Entertainment is full of fascination with with some of civilization's most bizarre social arrangements; we justify our enjoyment of them with the thought that they are being presented in some kind of critical manner.
Besides the stellar cast, the insane content of the film is reason enough alone to have college students everywhere in awe. No wonder when you consider just how much we have in common with the antagonist of the story.
The question then remains: should a great actor receive an Oscar, not for the role he is nominated for, but because he has been passed over time and again?
More money. More drugs. More sex. More power. More everything.
If WOWS qualifies as a "punk rock film," then we have reached a cultural moment at which punk is devoid of meaning, reduced to crass commercial form in which the very possibility of rebellion signifies absolutely nothing.
If the message of The Wolf of Wall Street is "drugs are bad," some people aren't getting the message.