Console best movie i've ever seen.

Gutsycurene Fanciful, disturbing, and wildly original, it announces the arrival of a fresh, bold voice in American cinema.

Robert Joyner The plot isn't so bad, but the pace of storytelling is too slow which makes people bored. Certain moments are so obvious and unnecessary for the main plot. I would've fast-forwarded those moments if it was an online streaming. The ending looks like implying a sequel, not sure if this movie will get one

Lachlan Coulson This is a gorgeous movie made by a gorgeous spirit.

douglasosmith-67533 There is nothing believable about the romance of these two. Nothing at all.

lasttimeisaw Even NEW YORK, NEW YORK is Scorsese's notorious box-office snafu, it is still branded with his undeniable virtuosity of camera compositions and sleek cinematography which can feasibly best most of the films made by his peers in retrospective, the version I watch is a 163-minute re-issue in 1981, it is a veritable ode to the golden era of jazz standards.Along with a chronic but episodic story-telling, our two leads are Francine Evans (Minnelli) and Jimmy Doyle (De Niro), she is a promising lounge singer while he is a saxophone player and they first meet in a party on V-J Day where Jimmy's brazen flirting meets with Francine's feckless cold-shoulder, it is ever a stereotyped gambit to anticipate their romance blossoming although the ill-feeling exuded from a rakish scoundrel ever since Jimmy's very first appearance overtly portends that they' re a misfit match. A more problematic hiccup is Scorsese's unmethodical narrative strategy (with most dialogue impromptu), which meshes with random sappy moments, fails to elucidate what really goes wrong in their rocky relationship, superficially it is just an tiresome story of a poor girl falls for a giant pain-in-the-neck, and Scorsese and his screenwriters merely stick to this surface, as if all they want from viewers is to generate enormous sympathy for Francine and give Jimmy a free pass since he is so charmingly irresistible despite of his horrendous personality. If it has failed to do that in 1977, roughly forty years later, it is still a failure in this regard. Be that as it may, if the love story bores me to death and even comes off as a shade intolerable, the musical numbers have the exactly opposite effects, in addition to a haute couture parade for Ms. Minnelli, her renditions of BUT THE WORLD GOES 'ROUND and the sensational THEME FROM NEW YORK, NEW YORK are timeless earworms and Diahnne Abbott's performance of HONEYSUCKLE ROSE in the Harlem club is irresistibly soothing and enchanting, not to mention a young Mary Kay Place is also a brassy songbird. Albeit the inadequate character setting, Minnelli is the one who offers a positive momentum for the film to roll in the right direction, to be a star under the spotlight one has to make other sacrifices, in some way, it is her version of A STAR IS BORN (1954, 8/10), a homage to her mother's road to fame. Francine may be a dumb chick who inclines to make wrong choices in selecting her man, and too blind to see it, but thankfully, her rationality finally catches up with her in the ending scenes.But the same cannot be referred to Mr. De Niro, whose Jimmy is like a ticking time-bomb ready to go off anytime anywhere, it is not a cinch to establish such an off-putting egomaniac persona, which frankly speaking is quite praiseworthy for his acting chop, but on the other hand, ultimately viewers are prone to a certain perturbation generated by an assumption that all the acting may implicitly betray the thespian's real life temperament. There is also sheer contrast between his perfectly camera-friendly poise and the soused foreheads of his big band members during his show-stopping fanfare, as we have to swallow the fact that De Niro is just faking it whereas Minnelli has the bona-fide artistry.It is plain painful to see Ms. Minnelli's following silver screen career peters out rapidly after the failure of this project, no second chance or whatsoever meanwhile things go more kindly for men and it doesn't stop Scorcese and De Niro from ascending to their apex and maintaining their credibility up to this day.

rooprect "New York, New York" is a musical brought to us by the director (and leading actor) of "Taxi Driver" just a matter of months after that hard-hitting, violent classic shocked us. What Scorsese sought to do here was use the style of those candy-coated technicolor song & dance films our grandparents grew up on ("Singin in the Rain" and such) but give it a more realistic edge. Visually he succeeded impressively. The sets, lighting, camera work and costumes are exactly as you'd expect from a classic toe tapper. As for the realistic edge, he also succeeded--perhaps too well.Like a few other reviewers, I have a problem with the casting of Di Nero, especially when contrasted against the sweet, passive charm of Liza Minnelli (whose amazing performance I'll get to later). From the outset, Di Nero comes across as a borderline psycho just waiting to smack a few women around, and I found that to be very distracting from an otherwise personal story.In Scorsese's prologue to the 35th Anniversary DVD he talks about how he wanted to tell a story of 2 people in love who just can't seem to mesh due to personality & artistic differences. But instead what we get is the story of an abusive man and a submissive woman. This is not, as Scorsese implies, simply a personality difference. It's a very polarized tale of a creep & a sweet girl. Honestly, it was Scorsese's deceptive prologue that made me feel like the film failed. If he hadn't said anything, or if he had more accurately said that this is a disturbing story of domination set as a cute musical, I would have said it was a triumph. But in that it fails to do what the director says it's designed to do, it fails artistically.Does that mean it's a bad movie? Absolutely not! Just like "Rollerball" (1976) was supposed to be Norm Jewison's anti-violence film but ended up thrilling us with its heart-pounding action & violence, "New York, New York" is a very well made, entertaining and masterful piece of film. The contrast between its charming visuals and its unsettling dysfunctional love story is very effective. I just wish it had featured a different leading male--someone better suited to play an imposing figure with a heart (Christopher Walken, anyone?) rather than Di Nero who, at least in this film, comes across as a villain.Liza Minnelli is stunningly good. She is what raises this film from "good" to "great". Her character is submissive to Di Nero's tyrannical presence; yet we never get the feeling that she's a pitiable victim. Instead, she seems smart, bold, and while she doesn't fight back at times we wish she would, she always deals with the problem instead of lying down and taking it. Her emotional scenes are very genuine (not sappy). And of course that voice! This is one of the rare musicals where a song number *adds* to the drama rather than serving as a sideshow.In all, this is a unique and powerful film which you should watch if you get the opportunity (note: although it's quite long, be sure to see the uncut 2 1/2 hour version). While it seems to have failed at delivering the director's original intent, it does give us something else worth sinking our teeth into.

Desertman84 Martin Scorsese combined the splashy atmosphere of the old studio musical with an unromanticized marriage story in his valentine to Hollywood and the Big Band era.New York, New York is a musical-drama film directed by Scorsese. It is a musical tribute, featuring new songs by John Kander and Fred Ebb as well as standards, to Scorsese's home town of New York City, and stars Robert De Niro and Liza Minnelli as a pair of musicians and lovers.It features Minnelli's signature song,"New York New York".On V-J Day 1945, newly minted civilian saxophonist Jimmy Doyle meets USO singer Francine Evans at a dance, but she rebuffs every advance that he makes. A day and a hotel lobby meeting later, Jimmy finally wins Francine over after she uses her pop instincts to save his too-jazzy audition at a nightclub. When she goes on tour with Frankie Harte and his Orchestra, Jimmy tracks her down, taking a job with the orchestra to be with her. Together on stage, they make beautiful music; off stage they marry, but the struggle between two artists begins to take its toll. Unable to understand that Francine's needs and talents are just as important as his, and unwilling to compromise his music for security, Jimmy abandons Francine after their baby is born. Separately, the two succeed even more, as Francine becomes a music and movie star, while Jimmy has a top hit and opens a jazz club. When they are reunited several years later, the pair must decide if their relationship is worth another try.A downbeat homage to bright-lights showbiz dramas, an epic orchestration that indulges in stubbornly obsessive riffs, Martin Scorsese's New York, New York seems to value awkwardness and indecision above all else considering that it never pulls itself together into a coherent whole.But nevertheless,one cannot deny the fact that we're left with a good time considering the great amount of entertainment and satisfaction this musical provides.Also,Scorsese created a very handsome and dynamic film reveling in the costumes and music.Overall,it may not be the a classic but it surely does leave the viewer a wonderful time.