Directed by:
Martin ScorseseScreenplay:
John LoganCinematography:
Robert RichardsonComposer:
Howard ShoreCast:
Leonardo DiCaprio, Cate Blanchett, Kate Beckinsale, John C. Reilly, Alec Baldwin, Alan Alda, Ian Holm, Danny Huston, Gwen Stefani, Jude Law, Adam Scott (more)VOD (3)
Plots(1)
Howard Hughes was a wily industrialist, glamorous movie producer and unstoppable American innovator – but thought of himself first and foremost as an aviator. In this spectacular epic, director Martin Scorsese focuses on the most prolific period in the life of Hughes: the mid-1920s through the 1940s. It was a time of brilliant aeronautical invention, turbulent love affairs and savage corporate battles. Prepare yourself for the ride of a visionary lifetime. (Miramax Films)
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Reviews (11)
A stunning cinematic work by a true artist, both in image and acting. I wasn't bored even for a minute, the runtime was okay, I actually wouldn't have minded a bit more. And the emotional impact on me was all the greater because I have dealt with obsessive compulsive disorder in my life, so I know exactly what Scorsese was talking about, and that he didn't miss the mark is evidenced by the feelings of one of my friends, also OCD, who was shocked to find himself in the character of Howard Hughes. So, thank you Sir.
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One of those films for which Leo should have gotten the Oscar instead. It's a great performance by him, but it's not the film's only strength. Scorsese's direction is so confident that he even allows himself an exorbitant runtime because he knows he won't be boring the audience. The last two hours mesmerized me so much that, for the second time, I couldn't tear myself away from the film.
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The Aviator is not Martin Scorsese’s best film and, in my opinion, it doesn't even belong among the best ones. It is beautifully shot, but that's about it. There are plenty of unforgettable scenes, shots, and dialogues, but the end result doesn't have such a strong impact, and there is no deeper emotional experience. Surprisingly, technically, the movie is quite uneven, and sometimes it seems like a farce or an overly theatrical costume drama. Sometimes, I even feel a sense of theater. It's an interesting retro film, but definitely not aiming for an Oscar.
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Originally I didn’t want to watch The Aviator because of DiCaprio, but now he was the main reason (and of course Marty was too) I wanted to watch it. Strange how priorities change over the years. Scorsese pulled me into a world that I admire... movies, airplanes and he masterfully pieces together the most interesting details of Hughes life. Caprio played him superbly (was Penn’s performance back then really that much better than this gripping solo?) and Cate won a well-deserved Oscar. An inspiring picture.
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If The Aviator is anything to go by, it's a perfect example of top Hollywood, the Hollywood that Hughes helped build in the 1920s with his bold visions. It's a precisely-fulfilled genre scheme that offers both a breathtaking spectacle and great dramatic filmmaking. You can't help but praise the famous camera, the well-incorporated tricks, and the perfect period music that gives everything style and atmosphere. The story of Howard Hughes is not only a personal drama, but also a spectacular and epic spectacle in which some scenes bolt you to your seat in a "Hollywood" manner and don't let you breathe (the superbly shot aerial sequences are really worth it). More importantly, each part serves a monumental whole, and the monumentality of the whole does not overshadow the personal and not-very-idealized personal plane. Hughes' personality is the centerpiece around which everything spectacularly turns, not the other way around. That's what I appreciate about Martin Scorsese. He didn't succumb to a big topic and tried to go under the surface. He did not idealize, but he tried to tell the story of one of the fascinating carriers of human imagination and the desire to fly (figuratively and literally) in all shades. From where I was sitting, it clearly seemed that he had succeeded. The Aviator is a truly wonderful specimen of a biographical major film in all its dazzling sheen. There's no room for misery this time... The few extra minutes the film has can be considered a hereditary disease. And Scorsese was able to richly balance Logan's weaker script with his precise direction.
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