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Rodrigo Perez’s “The Wolf of Wall Street” Scores It a One Trick P(h)ony

In response to Rodrigo Perez’s 1176‑word review of The Wolf of Wall Street on The Playlist

By ,

After Rodrigo Perez’s “The Wolf of Wall Street” it is far more likely that the urban legend commencing here, now, that Martin Scorcese is the coiner of the now hackneyed “Y is the new X” jargon.  

Let’s break it down the Perez way: the director in question is 72, he’s made a film---in keeping with his take that, oh, let’s say 72 is the new 22---certainly aimed at that demographic insofar as sheer butts in seats are concerned, and, last but not least, he longs, as that wannabe 22 year old male, to inhabit that teenage-ish wasteland, at least vicariously.

Self-proclaimed cinematic historian that this helmer is (see his ‘proclamations’, elsewhere), he was certainly aware, as pointed out by Perez, that better films have been made the world over whose aim was to reveal the pathos of overweaning---here, literally, naked---ambition, especially undeserved heights’ attainment.

Perez tells it like it ain’t, as Rodney Dangerfield, a devotee of partying animals kingdom, would have put it: this work is aimed by its bathetically conceived acronym, WOWS, aimed simply at that visceral reaction.  

Such bathos in lieu of pathos is only achievable via mass worldwide distribution deals, especially aimed at the Chinese consumer, a market most likely to smile knowingly when viewing self-destructing cubs of the Great Paper Tiger.

Perez kindly euphemizes his verdict: ‘. . Scorcese isn’t mellowing with age’=grow up, shorty.    

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