Pan and Slam

By Jason F. Koenigsberg

Martin Scorsese is the greatest movie director of all time, past and present, living or dead. I will argue that statement with anybody. I would place Scorsese’s body of work and contributions to cinema over Steven Spielberg, Alfred Hitchcock, Stanley Kubrick, John Ford and Charlie Chaplin. Scorsese has made an indelible impact on the art of cinema more than anyone else for over the past fifty years. With a diverse output that he is often not given enough credit for and a longevity that most in his field could only wish for, his films have touched generations of movie goers and will continue for decades to come. I have heard people summarize his filmography as just making gangster movies and that could not be further from the truth. He has dabbled in basically every genre other than science-fiction and in over fifty years and dozens of feature films, Scorsese is the only director with such an extensive resume to never make a bad movie. His legacy was solidified long before the Academy honored him with a much deserved ‘better-late-than-never’ Best Director Oscar for The Departed (2006). The fact they did not honor him before then is a crime in itself but it made his victory so much more sweet. Besides by my count he probably should have won multiple Best Director Academy Awards for Raging Bull (1980), Goodfellas (1990), Gangs of New York (2002), Hugo (2011), and The Irishman (2019). But I digress. I have been putting off writing an article about my hero and the man I owe my love for cinema mostly because I did not want to make a tribute to him prematurely, but also not posthumously. This was one of the most challenging articles for me to write. To rank Scorsese’s feature films is no easy task. Numbers 1-3 on the list belong on any list of the greatest movies ever made. Numbers 4-6 have always had the same significance for me since I saw first saw them and have never changed. Numbers 7-14 I all consider great movies and the best or close to the best films of their respective years. Then 15-20 I consider to be very good Scorsese movies, but not great all timers that I can revisit over and over or hit me with an emotional impact. The movies that just missed the cut still have a lot of value and are unique motion picture experiences but I would have really been splitting hairs ranking each one so I did not want to stress myself out. Without any further ado, here are the official Pan and Slam rankings of Martin Scorsese’s pictures.

1. Goodfellas (1990)

One of the best movies of all time and in my personal favorite movie that made me love cinema. Seeing this on HBO one afternoon changed my entire opinion about movies from something passive to enjoy on a lazy afternoon, to an obsessive quest to seek out more great works of art similar to what Scorsese was able to create with Goodfellas. But do not take my word for it. Film critic Roger Ebert called this “the best mob movie of all time” and that viewpoint would be more unanimous if Francis Ford Coppola’s Godfather saga did not exist although it is tough to compare these movies. Goodfellas has an astounding energy that Scorsese and his longtime editor Thelma Schoonmaker perfectly set the action and dialogue to classic rock and golden oldies of the time. Goodfellas has some of the best acting, pacing, and by far the best use of main character narration, usually a lazy trope, but enthralling in this film. All biopics and all based on a true story films since 1990 owe a lot to Goodfellas. Scorsese and his team set the standard very high for everyone else including themselves and they have never truly topped this masterpiece. The best example of cinematic perfection, even the costumes and sound design along with innovative tracking shots and use of camera focal points add layers to this complex work of men and women with loose morals where their decisions have tragic consequences.

2. Taxi Driver (1976)

This is not Martin Scorsese’s first great movie, but it is his first masterpiece as a filmmaker. Taxi Driver has become one of the most influential films of all time inspiring more modern filmmakers who grew up watching this film and using the style and story as outlines for their own films. Taxi Driver redefines what makes a person a hero, because on the surface Travis Bickle played brilliantly by Robert De Niro checks off all the boxes of traits most movie heroes have. He is a former Marine, Vietnam veteran, hard working blue collar man, who wants to clean up the dirty city streets he drives his cab at night, as well as save a twelve-year old prostitute (an outstanding Jodie Foster) from her controlling pimp (a vile Harvey Keitel). All this while trying to impress a blonde bombshell played by Cybill Shepherd who has her faith in a politician to clean up New York City while Travis Bickle is going to get his hands dirty cleaning up the streets himself. This movie shows that it is easier for some men to commit violence than it is to handle rejection. Speaking of the city, Taxi Driver serves as a time capsule of how grimy and seedy Manhattan was during this time period. Like most of Scorsese’s best movies, this is a story of a weak man with questionable morals. Movies have been made about revisionist hero stories before and since Taxi Driver, but none have done as well at deconstructing masculinity as Taxi Driver has.

3. Raging Bull (1980)

Often hailed as the best film of the 1980’s (both Siskel and Ebert agreed on that), Raging Bull is the true story of Jake LaMotta, a boxer who lived a more tumultuous and violent life outside of the ring and all because of his own insecurities and jealousy consumed by the thought that his beautiful wife Vicki (Cathy Moriarty) is cheating on him with almost any man including his own younger brother Joey (Joe Pesci). There has never been a more tragic sports movie than Raging Bull and this is one of the saddest stories about a mans internal demons and weaknesses causing him to push away everyone who has ever loved him to a sad lonely life. If one does not consider Taxi Driver to be Robert De Niro’s best performance then surely they must acknowledge his Academy Award winning turn in Raging Bull as the best acting of his career. This is one of the most praised performances of all time in any motion picture. The gritty black and white cinematography brings a timeless and haunting quality to Raging Bull making the brutal boxing scenes and outbursts of domestic violence digestible for audiences. Scorsese has directed a lot of tragic stories but the realism he and everyone else brings to Raging Bull make this feel like the most solemn of his masterworks.

4. The Last Temptation of Christ (1988)

One of Scorsese’s most controversial films also happens to be one of his best. It failed at the box office mostly because the Religious Right fanatics said they would buy tickets and stab anyone who went to see the picture. Any movie that tackles religion, and Jesus Christ specifically, is usually going to be controversial this was no exception. The Last Temptation of Christ is an examination of Jesus as a man and as the son of God. It confronts the duality of his nature and poses the question of what if he was tempted by the flesh of a beautiful woman, or by a deal from the Devil himself. This movie transcends Christianity as it could be the story of any man on the doorstep of greatness who has to make a sacrifice but is tempted to take the easy way out. Scorsese makes Willem Dafoe’s Jesus relatable as any man who is afraid of his new responsibilities and does not want to face his destiny. This is a rare and thoughtful film from a devout Catholic filmmaker trying to elevate how people think about Jesus and God and why we look to them.

5. Casino (1995)

The other great mafia movie Martin Scorsese made with De Niro and Pesci in the 1990’s, and that is exactly what Casino‘s reputation was then and for better or worse still is today. However one could argue that if Goodfellas did not come out five years prior, or never existed, that Casino might be hailed as Scorsese’s masterpiece. But timing is pivotal and its initial release was unkind as it underperformed at the box office in late 1995 and De Niro’s other big movie that season was Michael Mann’s Heat which came out a few weeks after Casino and had the draw of being the first time De Niro and Pacino shared a scene in a movie together. Despite Casino’s inevitable comparison to the two movies just mentioned, it deserves to stand on its own merits as one of Scorsese’s finest films and one of the best films of the year it came out. The weakest link in the movie is Sharon Stone who acts her heart out and gives one of the best performances of her career, winning a Golden Globe and earning an Oscar nomination along the way. Sadly, as good as she is, Ms. Stone is no match as she shares the screen with De Niro, Pesci, and even James Woods who all have a similar acting style that contrasts with hers. They just make the movie seem so real and their acting is so effortless. What Goodfellas did educating its audiences about life and family in the mafia, Casino does the same thing only about how organized crime infiltrated, profited, and eventually imploded in Las Vegas. This is the best movie ever made about how a casino in Las Vegas operates and it is as gripping to watch as Goodfellas is, just half an hour longer.

6. The Departed (2006)

The movie that finally won Martin Scorsese his long awaited and well deserved Best Director Academy Award, The Departed ranks up there as one of the best films of his career. If anyone else directed it we would probably be calling The Departed the best movie of that filmmakers career. It is not Scorsese’s fault he keeps cranking out great movie after great movie every decade. The Departed is also his finest collaboration with his other most famous muse, Leonardo DiCaprio. This was their third movie together and they have made six feature films as of 2023. The Departed is a remake of an Asian police thriller and Scorsese and his team make it their own and one of the rare times a big budget Hollywood remake is better than the original. This is Scorsese’s only movie to win the Academy Award for Best Picture as well. The all star cast which also included Matt Damon, Jack Nicholson, and Mark Wahlberg in his only Oscar nominated role is one of the most electrifying and emotional action packed movies of Scorsese’s career and he certainly made the movie he wanted to and finally was able to connect with audiences. This movie along with several of his subsequent collaborations with DiCaprio would be the most profitable of his career. Martin Scorsese has joked that he has probably gotten away with more than any other director in the big studio system and The Departed and many of his other titles on this list clearly illustrate that.

7. The Aviator (2004)

Round two of a Scorsese picture trying desperately hard to win Oscars. Warner Bros. was pushing The Aviator hard in 2004 as their big awards contender and The Aviator did quite well on Oscar night winning five trophies. The only major Academy Awards it lost that it could have won were Best Picture, Best Director for Scorsese, and Best Actor for Leonardo DiCaprio. Ironically it lost the first two of those Oscars mentioned to another WB movie, Clint Eastwood’s Million Dollar Baby. Marty had to grin and bear it that night as he watched Clint take the stage for both of those Oscars. Eastwood now had 2 Best Director Oscars and he had zero. Cate Blanchett did win Best Supporting Actress that night for her portrayal of Katherine Hepburn but the real reason The Aviator ranks so high is because this is DiCaprio’s best performance of his career as Howard Hughes. The Departed is the only other performance of his where that statement could be argued but Leo really carries this movie. The Aviator is a hugely enjoyable epic about the golden age of Hollywood and the production design is lavish, the music is spectacular and the use of color in the cinematography make The Aviator stand out from other great biopics from the early 2000’s. Scorsese and DiCaprio show Hughes as a triumphant and tragic character, illustrating his downfall with his obsessions. Like most of Scorsese’s movies those looking to be uplifted will walk out shrugging their shoulders but he made an unforgettable, complex, and glorious portrait of a deeply complicated man as he slowly succumbs to his demons.

8. After Hours (1985)

This movie is the first time Scorsese was simply making a movie as a director for hire. His attempts to film The Last Temptation of Christ were cancelled by the studio so his choices were continue to fight and search for financing while shopping the project around, or accept the loss and put that script on the back burner. He chose the latter but in the meantime he needed a job and wanted to make some money. Joe Minion’s screenplay came to him and he showed interest and we are all very grateful he said yes. Allegedly After Hours was almost Tim Burton’s feature directorial debut. That would have been a very different movie but watching Scorsese cook with these ingredients at this point in his career he had something to prove. Scorsese had to prove that he could direct a quality picture having not been involved in the script, planning, or pre-production stages. His heart was not in it like many of his best films that are passion projects he has been obsessed with for years. After Hours is a brisk, fast paced, comedy. With another director, cinematographer, and editor, it might have played it safe like any other 80’s comedy from that era. But with Scorsese at the helm, After Hours has a sense of adrenaline and drive that adds to the humor and never detracts from the characters or story. The lead character played by outstanding underused actor Griffin Dunne plays a great everyman. The camera angles, edits, and shot selection make one wish more standard comedies were filmed with the inventiveness and intensity Scorsese gives After Hours.

9. Gangs of New York (2002)

Round one of Scorsese trying desperately hard to win an Oscar. Gangs of New York was more famous for its behind the scenes turmoil, delays, and unscrupulous campaign tactics from now disgraced Miramax studio head Harvey Weinstein and sadly today it remains either more forgotten or wrongly maligned as one of the lesser Scorsese works but I think that it is misunderstood. This is the first time Scorsese worked with DiCaprio and they now have six collaborations together, and the second time Scorsese worked with Daniel Day-Lewis. Gangs of New York was the moment where the world, not just cinefiles, started to notice Scorsese for his career and the whole “I can’t believe he never won an Oscar” comments started popping up. Nobody really said that when Scorsese lost for Goodfellas, or his great works like Casino and Bringing Out the Dead went completely ignored by the Academy. Plus, Gangs of New York also boosted the careers of its stars Leonardo DiCaprio who had not had a hit movie in five years since starring in Titanic and Daniel Day-Lewis who had not even acted in a movie in five years since 1997’s The Boxer. This put them both back at the top reminding critics and audiences of their value. DiCaprio has since won a Best Actor Academy Award and had many nominations, Daniel Day-Lewis won two more Best Actor Oscars, and Scorsese has become a perennial Best Director nominee finally winning for 2006’s The Departed. People often criticize Cameron Diaz for not holding her own in scenes with those two legendary actors but at the time, she was more of a box office draw and possibly a bigger name than them with more recent big hits on her resume like There’s Something About Mary (1998), Any Given Sunday (1999), and Vanilla Sky (2001). This movie needed her star power to help it get green-lit and allow for the huge budget. Gangs of New York easily has the best sets, costume design, and grand scale cinematography of any Scorsese movie up to that point and today only The Aviator and Hugo really rival it in those departments. It shows New York City at a time and in a way that very few films ever has and for that it deserves a lot of credit and not just for being the controversial Awards campaign that started the second chapter of Scorsese’s career which has been more lucrative and literally more rewarding. Despite the fact that Gangs of New York went 0 for 10 at the Oscars that night, Scorsese was now on the minds of the mainstream in a way he never had been before.

10. Cape Fear (1991)

Scorsese enters the world of remakes and the closest he has come to horror with the gripping and violent Cape Fear. A psychological thriller that actually improves on the original classic in a style that only Scorsese could have concocted making every character deceitful and at times reprehensible, even though De Niro was clearly the antagonist since he was the most cruel and sadistic. Scorsese’s Cape Fear is as much a dysfunctional family drama as it is an action packed thriller with patriarch Nick Nolte getting his hands very dirty as he tries to protect his family from a psychotic killer obsessed with revenge. Even his daughter played by Juliet Lewis who earned an Oscar nomination for her role would normally be an innocent girl but she has scenes where her purity and honesty are compromised. This was originally supposed to be directed by Steven Spielberg who stayed on and produced it under him Amblin banner for Universal. De Niro got involved, wanted Scorsese to direct it and this was their triumphant follow up to Goodfellas. Until the new millennium, Cape Fear was the highest grossing Scorsese film taking in $79 million. De Niro would also earn an Oscar nomination for this movie and would go on to lose to another actor playing an even more iconic villain, Anthony Hopkins in Silence of the Lambs. For what it’s worth, I still would have voted for De Niro and think he should have won but I know that is an unpopular opinion. Cape Fear remains one of the best and most mature thrillers of its era and is one of Scorsese’s best movies, certainly his most unhinged and terrifying. Also, it inspired one of the best Simpsons episodes of all time so that gives this movie major points as well.

11. Hugo (2011)

When I first saw the trailer for Hugo I recall thinking “oh no, Scorsese finally won an Oscar and now his second feature film is gonna be some Harry Potter ripoff that he is just making for his kids”. Well I could not have been any more wrong and I am very happy that Hugo proved me wrong. When I finally saw it not only did I walk out thinking Martin Scorsese could do no wrong, but he made a movie for the whole family that felt so much like a love letter to cinema everyone can appreciate and enjoy that only Martin Scorsese could have created. It is tough to compare Hugo to any of the other movies Scorsese has directed but it is equally tough to say that it is worse than any of the classics I listed above it. This is a beautiful and sincere film that is not dealing with flaws and morality but with awe and discovery. Scorsese’s Paris is very far removed from his gritty home turf of New York City. His Paris of the 1930’s is a glowing magical place and the sets in the train station are exquisite as well as his subtle, gorgeous use of 3D. At the time 3D conversions were all the rage after Avatar in 2009. Hugo is the only other film from that era which was worth the up-charge for the 3D ticket but for the completely opposite reasons. Avatar celebrated the visual loudness of what state of the art special effects could do and pumped the visual stimulation up to the max, Hugo showed the mastery of harnessing those same effects to enhance the story and draw the audience slowly into the setting and lives of the characters. This is a beautiful film unlike anything else Scorsese ever made yet feels like Scorsese is the only person on Earth who could have made it.

12. Mean Streets (1973)

The first great Scorsese movie that established his signature visual and auditory style. Mean Streets is the movie that put Scorsese on the map and helped launch the careers of Harvey Keitel and Robert De Niro who would both become key collaborators in his filmography. Mean Streets is a raw unfiltered look at life and crime in New York’s Little Italy admen dealing with weakness and temptation living in lives of crime and sin with the cloud of the Catholic Church watching over them. These themes of religion, guilt, and sin would become would become synonymous with being part of a Scorsese film. Mean Streets still has a rough and abrasive look compared to his later films even the subsequent films he made in the 70’s look more polished. This fits because it is one of Scorsese’s earlier pictures. It set the tone of what his most iconic films would look like and in most other directors filmographies it would be one of their defining pictures. But Scorsese is not most other directors, for him Mean Streets is a groundbreaking movie that is not even one of his ten best.

13. The Irishman (2019)

The career crowning achievement for Martin Scorsese is The Irishman. At least it is in terms of its themes and cast. A picture about looking back and reflecting on a life of crime, murder, weakness, and regret. It also marks the ninth of ten collaborations with Robert De Niro and the first time he worked with him in twenty-four years after Casino. The Irishman was the sixth time he directed Harvey Keitel, third time he directed Joe Pesci in one of his best performances coaxing him out of semi-retirement, and this was the first time Scorsese directed the legendary Al Pacino. Hard to believe that Scorsese and Pacino never crossed paths until the twilight of their careers but it was worth the wait. All the leads are outstanding with Pesci and Pacino earning Best Supporting Actor nominations, their first since they both won Oscars back in the early 90s.

14. Bringing Out the Dead (1999)

An extremely underrated film and the last time Martin Scorsese was ever working as a struggling director. Before Scorsese was regarded as a national treasure and making big budget award winning blockbusters with Leonardo DiCaprio he was a visionary director that few producers wanted to fund to realize his visions. This movie, like Taxi Driver is Scorsese at his most relentless and passionate. Bringing Out the Dead was inevitably compared to Taxi Driver for their similarities but the biggest difference is that Cage’s character is not as morally bankrupt, or insane with as skewed values as De Niro’s Travis Bickle in Taxi Driver. Both films were written by Paul Schrader and show the dark and ugly side of New York City late at night. Another reason this was probably ignored and failed at the box office is because 1999 happened to be a year filled with other outstanding movies and it sadly was lost in the shuffle with other great movies like The Sixth Sense, American Beauty, and The Insider dominating conversations, critics top ten lists, and award nominations. Bringing Out the Dead is a fiery and visceral movie.It is an uncensored look at a man dealing with moral, ethical and religious questions, all of which are themes that run through every Scorsese film.  Scorsese’s direction is as energetic as always. Nicolas Cage gives an inspired performance worthy of a Best Actor Academy Award nomination as Frank the ambulance driver and paramedic who has worked the graveyard shift too long and feels he is cursed. This is the forgotten Scorsese masterpiece and the end of an era when Scorsese movies came and went from theaters unappreciated by the masses. 

15. The King of Comedy (1983)

Another Scorsese movie that flopped on its theatrical release and was wrongfully panned by critics at the time. The King of Comedy has since been reevaluated thanks to the internet and found its audience and is now considered one of his best films. It is Martin Scorsese and Robert De Niro parodying themselves and one of their previous collaborations Taxi Driver. It also gave Jerry Lewis, a past his prime comedic actor/writer/director arguably the best and most dramatic role of his career playing a successful Johnny Carson-type talk show host that De Niro’s character Rupert Pupkin is obsessed with to try and get his big break on his show and become a successful comedian himself. This is a dark, comic, subversive satire on show business, fame, and celebrity culture. A more nuanced examination of similar themes of loneliness, masculinity, and anger, recurring themes from most Scorsese movies most notably from Taxi Driver. It is a terrific and unique film that I greatly appreciate and admire, I just happen to enjoy fourteen other Scorsese directed movies slightly more.

16. Silence (2016)

Martin Scorsese’s Silence is probably his most inaccessible movie for mainstream audiences. A slow, beautiful, meditation on the power and importance of faith and an examination of what people are willing to do when their faith in God is tested. This is the only motion picture he has directed this century since his renaissance that both underwhelmed at the box office and failed to nab a lot of award nominations. However, Silence was highly praised by critics, hence the inaccessible aspect of the film to break through and make an impact outside of end of the year top ten lists. It is a beautiful film with great performances, gorgeous cinematography and costumes, but a frustrating experience for its main characters. A lesser director would have taken the easy way out and made a spiritual story following the outline of Joseph Conrad’s Heart of Darkness. Instead Scorsese tests our own patience with questions but not answers, conflicts but no clear resolutions, and misery with no release. A challenging film that few directors would ever have the courage or ability to take.

17. The Wolf of Wall Street (2013)

The Wolf of Wall Street is one of Scorsese’s and DiCaprio’s most successful collaborations both at the box office and at award shows. It has only grown in acclaim since its release and for any other director this would probably be their masterpiece. There is no denying Scorsese made exactly the movie he wanted to make and loved every single moment of its 180 minute runtime. He was 71 when it was released and showed these younger whippersnappers that he could direct the hell out of a movie in their style even better than most of his younger colleagues. Martin Scorsese has made a career making movies out of unsavory characters like his gangsters in Mean Streets, Goodfellas, and Casino, a sadistic and obsessed killer in Cape Fear, and DiCaprio’s Jordan Belfort, a con artist, liar, and addict is every bit as memorable as any of the other Scorsese anti-heroes. In fact, he may be worse in some ways, but he is certainly the funniest. This movie with its portrait of American excess immediately made an impact on our culture and remains one of the most beloved movies of the past decade and a half. Plus, it introduced the world to Margot Robbie and she has continued to win us over with terrific performances for the past ten years.

18. Shutter Island (2010)

The first fictional feature film Martin Scorsese directed after winning his long awaited Best Director Academy Award reunited him with his favorite leading man of this century and he re-teamed with Leo for a dark and gripping psychological thriller Shutter Island. It was not nearly as critically acclaimed as their previous three collaborations but it sure cleaned up at the box office in early spring of 2010. If this is Scorsese and DiCaprio not trying to redefine their legacies and make an award winning epic, it is still better than most movies released any other year. The performances across the board are all outstanding and the suspense is riveting up until the final reveal.

19. The Age of Innocence (1993)

This movie is probably the first time Martin Scorsese tried to make a movie with the promise of Academy Award nominations in the back of his mind. On paper The Age of Innocence has everything right on the Oscar check list. It is based on the classic novel by Edith Wharton showcasing Scorsese’s New York City at a time and era not often seen on the big screen. Gorgeous sets and costumes, a slow paced romantic historical epic feel. Academy Award winning Actor Daniel Day-Lewis leading red hot actresses Michelle Pfeiffer and Winona Ryder all the way to the promised land. It did not quite work out as planned. Steven Spielberg’s Schindler’s List was the movie to beat that year and even Daniel Day-Lewis had a better movie released that year when he earned a Best Actor nomination for In the Name of the Father instead of this movie. In retrospect as sumptuous as The Age of Innocence is, the Academy got it right that year, those movies as well as the other Best Picture nominees The Fugitive, The Piano, and The Remains of the Day are superior films. The Age of Innocence is a fine film, with Scorsese trying something different from his usual oeuvre but it is not one of his best and most memorable films.

20. The Color of Money (1986)

The Color of Money is a sequel to The Hustler twenty-five years later with Paul Newman returning as Fast Eddie Felson, this time he is trying to mentor a hot shot protege played by Tom Cruise on how to properly hustle as a pool shark. A moderate box office success at the time of its release for the then newly established Touchstone Pictures meant to make more mainstream adult oriented movies for Disney. The reviews were decidedly mixed with Siskel and Ebert giving the film two thumbs down, possibly the only time that ever happened to a Scorsese picture. It has gone down in history as being the movie that finally won Paul Newman an Oscar. His Best Actor win was more of a lifetime achievement award and most people will probably tell you he deserved an Oscar more for a handful of other pictures throughout his filmography. That being said, nobody can deny that Scorsese directed the hell out of this picture with the most exciting pool scenes ever filmed and cut perfectly to a rousing soundtrack especially the scene where Tom Cruise is knocking a lot of balls into the pockets to Warren Zevon’s ‘Werewolves of London’.

Missing the Cut but still worth seeing: Killers of the Flower Moon, Alice Doesn’t Live Here Anymore, Boxcar Bertha, New York, New York, Kundun, Who’s That Knocking at my Door? So many worthwhile movies all directed by one man. He truly is the greatest filmmaker of all time.

In between those films Martin Scorsese has directed a number of documentaries that are worth checking out. His best ones are often based on music which is vital to most of his greatest films. His soundtracks with classic rock and oldies are practically as iconic and inseparable from the films themselves. Scorsese’s best documentary is The Last Waltz (1978) which is also arguably the best concert film ever made. It captures The Band’s final concert with numerous appearances from music legends Ronnie Hawkins, Eric Clapton, Joni Mitchell, Muddy Waters, and Van Morrison just to name a few.

Best Documentary Films Directed by Scorsese:

1. The Last Waltz
2. George Harrison: Living in the Material World
3. Shine a Light
4. No Direction Home
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