The same zooms, the same introductory opening sequences, the same long travelling shots with a narrator introducing every major and minor character the camera closes up on (in other words, some reasons Goodfellas and Casino were so lovable), are used in a 19th century New York romance. Not saying these techniques don't work, but they seem out of place here, and no one said a grand-master's unique style can be applied to every genre. If Scorsese was trying his hands on a non-gangster film, I would've preferred him to go out all creative, like he did in Hugo.
Mo says:
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