Vicenarian Richard travels to Thailand and finds himself in possession of a strange map. Rumours state that it leads to a solitary beach paradise, a tropical bliss. Excited and intrigued, he sets out to find it.
Director:
Danny Boyle
Stars:
Leonardo DiCaprio,
Daniel York,
Patcharawan Patarakijjanon
Based on the true story of Jordan Belfort, from his rise to a wealthy stock-broker living the high life to his fall involving crime, corruption and the federal government.
Director:
Martin Scorsese
Stars:
Leonardo DiCaprio,
Jonah Hill,
Margot Robbie
A young couple living in a Connecticut suburb during the mid-1950s struggle to come to terms with their personal problems while trying to raise their two children.
Director:
Sam Mendes
Stars:
Leonardo DiCaprio,
Kate Winslet,
Christopher Fitzgerald
A CIA agent on the ground in Jordan hunts down a powerful terrorist leader while being caught between the unclear intentions of his American supervisors and Jordan Intelligence.
Director:
Ridley Scott
Stars:
Leonardo DiCaprio,
Russell Crowe,
Mark Strong
An adaptation of F. Scott Fitzgerald's Long Island-set novel, where Midwesterner Nick Carraway is lured into the lavish world of his neighbor, Jay Gatsby. Soon enough, however, Carraway will see through the cracks of Gatsby's nouveau riche existence, where obsession, madness, and tragedy await.Written by
Anonymous
At one point of the movie, Tom Buchanan (Joel Edgerton) jokes about the crazy possibility of marriage between white and black people. Funny enough, Edgerton would ended up playing Richard Loving in Loving (2016), about a real life interracial marriage. See more »
Goofs
When Doctor Perkins urges Carraway to write down his thoughts, the pen on the blank page changes position between the three shots. See more »
Quotes
[first lines]
Nick Carraway:
In my younger and more vulnerable years, my father gave me some advice. "Always try to see the best in people," he would say. As a consequence, I'm inclined to reserve all judgements. But even I have a limit.
See more »
Crazy Credits
Jay Gatsby's flower symbol is shown throughout the credits with different letters in place of the 'JG'. The 3rd to last flower, preceding the music section, has 'JZ' in it (an homage to the film's soundtrack producer Jay Z. The last flower has the movie's traditional 'JG' in it. See more »
I watched this film with a sort of tender curiosity.
It was deliciously excessive and exaggerated, as expected from a Baz Luhrmann production. Leonardo DiCaprio made Gatsby his own ("Old spor'!") while retaining a feeling of familiarity. The screenplay was a faithful adaptation and even helped me understand some of the novel's themes more clearly. And though you'd think hearing dubstep during the Jazz Age would be jarring, the soundtrack worked very well.
But I couldn't love it. And it's (mostly) Tobey Maguire's fault.
Gatsby loomed so large in the original story that it's not hard to forget all about Nick. But it can be argued, and often is, that it was Nick and not Gatsby who was the protagonist of the novel. Fitgerald's story, told from Nick's first-person point of view, was only as good as Nick's narration; Gatsby was only so great because Nick viewed him that way.
Unfortunately, Maguire fell completely flat in his role as narrative guide. There was always so much else going on and so much of Luhrmann's dreamscape to absorb that Maguire seemed to get lost in it all. And — with him — so did the viewer. Without a strong presence from Maguire, Nick was relegated from having a role as interpreter of events to being just another character (and a rather unimportant one at that).
Luhrmann tried to maintain Nick's narrative frame by having him tell the story — first as a patient speaking to his doctor at a sanitarium, then as a writer trying to explain his grief through prose. But those scenes came across (at best) as heavy-handed expository or (at worst) as Maguire's uninspired take on an abridged audiobook version of "The Great Gatsby."
I wanted to love this film. I really did. It had so many wonderful qualities. But with no Nick (only a Tobey) to help make sense of the people and events, "angry, and half in love with {it}, and tremendously sorry, I turned away."
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I watched this film with a sort of tender curiosity.
It was deliciously excessive and exaggerated, as expected from a Baz Luhrmann production. Leonardo DiCaprio made Gatsby his own ("Old spor'!") while retaining a feeling of familiarity. The screenplay was a faithful adaptation and even helped me understand some of the novel's themes more clearly. And though you'd think hearing dubstep during the Jazz Age would be jarring, the soundtrack worked very well.
But I couldn't love it. And it's (mostly) Tobey Maguire's fault.
Gatsby loomed so large in the original story that it's not hard to forget all about Nick. But it can be argued, and often is, that it was Nick and not Gatsby who was the protagonist of the novel. Fitgerald's story, told from Nick's first-person point of view, was only as good as Nick's narration; Gatsby was only so great because Nick viewed him that way.
Unfortunately, Maguire fell completely flat in his role as narrative guide. There was always so much else going on and so much of Luhrmann's dreamscape to absorb that Maguire seemed to get lost in it all. And — with him — so did the viewer. Without a strong presence from Maguire, Nick was relegated from having a role as interpreter of events to being just another character (and a rather unimportant one at that).
Luhrmann tried to maintain Nick's narrative frame by having him tell the story — first as a patient speaking to his doctor at a sanitarium, then as a writer trying to explain his grief through prose. But those scenes came across (at best) as heavy-handed expository or (at worst) as Maguire's uninspired take on an abridged audiobook version of "The Great Gatsby."
I wanted to love this film. I really did. It had so many wonderful qualities. But with no Nick (only a Tobey) to help make sense of the people and events, "angry, and half in love with {it}, and tremendously sorry, I turned away."