The Aviator

The Aviator is not Martin Scorsese’s best film and, in my opinion, it doesn't even belong among the best ones. It is beautifully shot, but that's about it. There are plenty of unforgettable scenes, shots, and dialogues, but the end result doesn't have such a strong impact, and there is no deeper emotional experience. Surprisingly, technically, the movie is quite uneven, and sometimes it seems like a farce or an overly theatrical costume drama. Sometimes, I even feel a sense of theater. It's an interesting retro film, but definitely not aiming for an Oscar. (10/02/2005)

This film should be called Howard Hughes, and the subtitle could be "DiCaprio Flying to the Stars". It'd be easy to say that Scorsese has lost his grip for once, especially the in second part, when the story gets out of hand, but anyone who lets the whole film sink into their head and understands the concept should admit that it could hardly have been made better. For us here overseas, The Aviator will have a hard time, a viewer who has never heard of Hughes can expect anything from it based on the premise or even the poster, but in the end they will probably get something completely different. It's a spectacular narrative built entirely on the complex and idiosyncratic character of the aviation mogul, or rather, on the excellent performance of Leo DiCaprio, which in my opinion was the starting point of his tremendous acting form that continues uninterrupted to this day. Hughes's personality and fascinating life are explored so thoroughly and interestingly in the space of 160 minutes that you simply can't take your eyes off the screen in order to see how it all plays out. And it wouldn't be Scorsese if he didn't come up with a hugely impressive and academically appealing production design and invite a whole host of stars to play the supporting roles; they do an excellent job and complement Leo, who barely leaves the screen (besides the Oscar-winning Blancett, it's worth mentioning Senator Alda, the master of supporting roles Reilly and the beautiful Beckinsale). For the uninitiated, it's a more challenging spectacle and I can't say I outright enjoyed it, but it's still a film with capital F, the likes of which only a few top directors can make (and have made) :) 80% (29/06/2013)

The pilot is not bad at all, but after two screenings in one year, I can't imagine trying to go through it all again even fifteen years later. DiCaprio is great, but surprisingly, Scorsese can't maintain a good momentum, he gets lost in Hughes' psychoses, and the story that goes to flowers is only fixed in the thrilling courtroom finale. (15/09/2005)

After the not-so-favorably received (but brilliant in my opinion) Gangs of New York, director Martin Scorsese has ventured into slightly more recent history. He tells the story of an extraordinary person in an extraordinary style. A man who can be perceived as either a genius or a madman. You have to choose whether you will admire Howard Hughes for pushing the boundaries of technological and human capabilities or despise him for his obsessively guarded cleanliness or instability in relationships. Martin Scorsese gives you both sides of the story in a unique trip back to the early 1930s and late 1940s. The atmosphere of parties, bars, women, cigarettes, and unique music breathed so strongly on me that it tousled my hair. And in this environment, Leonardo DiCaprio moves with his characteristic elegance. The acting challenge was truly formidable. DiCaprio picked up the thrown gauntlet and, with a performance more than dignified, proved to everyone that he truly knows how to act. The entire film is full of one famous name after another. While I'm not particularly a fan of Cate Blanchett, neither physically nor as an actress, I must reluctantly praise her. Alan Alda as Hughes' main antagonist is absolutely superb. A lot of people fault the film for the story going nowhere at times. I strongly disagree. I attentively watched the entire three hours to see what was happening. Visually, the film is perfect. Some scenes are indelibly etched in my memory. For example, the filming of Hell's Angels or the plane crash between houses in Beverly Hills. Robert Richardson's brilliant cinematography adds the final touch to everything. Not only the period music but also Howard Shore's orchestration perfectly contributed to creating the (already perfect) atmosphere. Everything I've listed here should be enough to give The Aviator four stars, but the film has something that makes me want to give it no less than five. It has soul. The soul that allowed it to live and tell. Thank you, Master. (12/02/2005)

One of those films for which Leo should have rather received an Oscar. It is his great performance, but it is not the only strong aspect of the film. Scorsese's direction is so confident that he dares to have an excessive running time because he knows it won't bore anyone. The last two hours captivated me so much that I couldn't tear myself away from the film - for the second time. (06/03/2016)