Martin Scorsese is often regarded as one of the most influential directors in film history, known for pushing the boundaries of storytelling and cinematic style. His work delves deeply into the raw intensity of violence and the complexities of male relationships, themes that echo his own experiences growing up in the rough neighborhoods of Manhattan’s Lower East Side. Scorsese first gained attention with Mean Streets (1973), a raw and unfiltered portrayal of life in Little Italy, which marked his arrival in Hollywood while defying many of the industry’s traditional norms.
With the release of Taxi Driver (1976) and Raging Bull (1980), Martin Scorsese solidified his reputation as a visionary filmmaker and one of the leading figures of his era. Although the 1980s saw a temporary dip in his creative momentum, he still delivered compelling works such as After Hours (1985), The Color of Money (1986), and the controversial The Last Temptation of Christ (1988), each of which would have been a highlight on any other director’s career.
He made a triumphant return to form with Goodfellas (1990), a fast-paced and electrifying mob drama that many fans consider to be one of Martin Scorsese’s finest achievements. Following that, he continued to build his legacy with films like Casino (1995), Gangs of New York (2002), and The Aviator (2004), each adding to his already impressive filmography. Despite receiving five Academy Award nominations for Best Director, it wasn’t until 2007 that Martin Scorsese finally took home the Oscar for The Departed (2006), a gripping Irish gangster thriller that many felt was long overdue recognition for a true master of cinema.
Martin Scorsese’s most acclaimed film is arguably Round Midnight (1986), which stands out as his highest-rated work. On the other hand, his lowest-rated film tends to be The Snowman (2017), which received a notably colder reception from audiences and critics alike. While Scorsese is widely known for his powerful storytelling and dynamic direction, these two films represent the extremes in terms of public perception of his work.