Do you have a video playback issues?
Please disable AdBlocker in your browser for our website.
Due to a high volume of active users and service overload, we had to decrease the quality of video streaming. Premium users remains with the highest video quality available. Sorry for the inconvinience it may cause. Donate to keep project running.
Despite a pacy, technically brilliant but otherwise slightly ordinary first half-hour or so, Scorsese's Howard Hughes movie is his best since The Age of Innocence.
This almost-great epic has one foot in legend: it's a vision of an American titan that could have sprung from the insides of Hughes's own obsessive, perfectionist head.
This undoubtedly is the movie Scorsese set out to make, and he made it exceedingly well. Still, we can fault him for choosing to celebrate its subject instead of examining him.
April 21, 2005
Sacramento News & Review
It's all rather sprawling and a bit disjointed, but Scorsese's vigorous pacing and eye for detail hold it all together and provide a vivid setting for DiCaprio's masterful performance (his best work yet).
It's a measure of The Aviator's complexity and ambiguity that it can be read equally as a celebration of rugged, capitalist individualism and as a leftist critique of cutthroat free-market competition.
Its primary appeal is its speed: It rushes along, from scandal to air crash to movie romance to Senate hearing, each anecdote well realized but never tarried over.