Editing Martin Scorsese (section)

=== 1973–1989: Breakthrough and acclaim ===
[[File:Movie trailer screenshot of Robert D Niro in Mean Streets (1973).png|thumb|right|[[Robert De Niro]] acted in his first collaboration with Scorsese in the crime drama ''[[Mean Streets]]'' (1973)]]
''[[Mean Streets]]'' was a breakthrough for Scorsese, Keitel and [[Robert De Niro]]. [[Pauline Kael]] wrote: "Martin Scorsese's ''Mean Streets'' is a true original of our time, a triumph of personal filmmaking. It has its own hallucinatory look; the characters live in the darkness of bars, with lighting and color just this shade of lurid ... It's about American life here and now, and it doesn't look like an American movie, or feel like one. If it were subtitled, we could hail a new European or South American talent — a new [[Luis Buñuel|Buñuel]] steeped in [[Verdi]], perhaps."<ref>{{cite magazine| last=Kael| first=Pauline| title=Everyday Inferno| date=October 8, 1973| magazine=[[The New Yorker]]| url=https://www.newyorker.com/magazine/1973/10/08/everyday-inferno}}</ref> By now the signature Scorsese style was in place: macho posturing, bloody violence, Catholic guilt and redemption, gritty New York locale (though the majority of ''Mean Streets'' was shot in Los Angeles), rapid-fire editing, and a soundtrack with contemporary music. Although the film was innovative, its wired atmosphere, edgy documentary style, and gritty street-level direction owed a debt to Cassavetes, [[Samuel Fuller]] and early [[Jean-Luc Godard]].<ref>{{Cite news |url=https://www.washingtonpost.com/wp-dyn/articles/A99967-1991Nov24.html |title=Scorsese, Master Of The Rage |newspaper=[[The Washington Post]] |date=November 24, 1991 |first=Hal |last=Hinson|access-date=September 4, 2017|archive-url=https://web.archive.org/web/20171203140433/http://www.washingtonpost.com/wp-dyn/articles/A99967-1991Nov24.html|archive-date=December 3, 2017|url-status=live}}</ref> In 1974, actress [[Ellen Burstyn]] chose Scorsese to direct her in ''[[Alice Doesn't Live Here Anymore]]'', for which she won an Academy Award for Best Actress. Although well regarded, the film remains an anomaly in Scorsese's early career as it focuses on a central female character. Returning to Little Italy to explore his ethnic roots, Scorsese directed ''[[Italianamerican]]'' (1974), a documentary featuring his parents Charles and Catherine Scorsese.

Scorsese followed with ''[[Taxi Driver]]'' in 1976, which depicted a [[Vietnam War|Vietnam]] veteran who takes the law into his own hands on New York's crime-ridden streets.<ref>{{Cite web|date=September 25, 2021|title=Retro-Cast: Casting Taxi Driver In The 1990s|url=https://screenrant.com/taxi-driver-recasting-nineties-actors/|website=[[Screen Rant]]|access-date=February 10, 2024|archive-date=April 11, 2023|archive-url=https://web.archive.org/web/20230411062216/https://screenrant.com/taxi-driver-recasting-nineties-actors/|url-status=live}}</ref> The film established him as an accomplished filmmaker and also brought attention to cinematographer [[Michael Chapman (cinematographer)|Michael Chapman]], whose style tends towards high contrasts, strong colors, and complex camera movements. The film starred De Niro as the angry and alienated [[Travis Bickle]], and co-starred [[Jodie Foster]] in a highly controversial role as an underage prostitute, with Harvey Keitel as her pimp.<ref>{{Cite web |title=Taxi Driver |url=https://www.tcm.com/watchtcm/titles/16448 |website=[[Turner Classic Movies]] |access-date=May 11, 2022 |archive-date=February 20, 2023 |archive-url=https://web.archive.org/web/20230220150508/https://www.tcm.com/watchtcm/titles/16448 |url-status=live }}</ref> ''Taxi Driver'' also marked the start of a series of collaborations between Scorsese and writer [[Paul Schrader]], whose influences included the diary of would-be assassin [[Arthur Bremer]], [[John Ford]]'s ''[[The Searchers]]'' (1956), and [[Robert Bresson]]'s [[Pickpocket (film)|''Pickpocket'']] (1959).<ref>{{cite web |last=Thurman |first=John |url=http://www.sensesofcinema.com/2005/37/taxi_driver/ |title=Citizen Bickle, or the Allusive Taxi Driver: Uses of Intertextuality |publisher=Sensesofcinema.com |date=April 5, 1976 |access-date=January 5, 2012 |url-status=live |archive-url=https://web.archive.org/web/20120128221305/http://www.sensesofcinema.com/2005/37/taxi_driver/ |archive-date=January 28, 2012}}</ref> Already controversial upon its release, ''Taxi Driver'' hit the headlines again five years later, when [[John Hinckley Jr.]] made an assassination attempt on then-president [[Ronald Reagan]]. He subsequently blamed his act on his obsession with Jodie Foster's ''Taxi Driver'' character (in the film, De Niro's character, Travis Bickle, makes an assassination attempt on a senator).<ref>{{cite news |url=http://film.guardian.co.uk/interview/interviewpages/0,,1813797,00.html |title=I was in a bad place |newspaper=[[The Guardian]] |date=July 6, 2006 |location=London |first=Geoffrey |last=MacNab |access-date=May 12, 2010 |url-status=live |archive-url=https://web.archive.org/web/20080720040533/http://film.guardian.co.uk/interview/interviewpages/0%2C%2C1813797%2C00.html |archive-date=July 20, 2008}}</ref>

''Taxi Driver'' won the {{lang|fr|[[Palme d'Or]]|italic=no}} at the 1976 Cannes Film Festival,<ref>{{cite web |title=Festival Archives: Taxi Driver |url=http://www.festival-cannes.fr/en/archives/ficheFilm/id/2123.html |publisher=Festival de Cannes |access-date=February 14, 2008 |url-status=dead |archive-url=https://web.archive.org/web/20110614231841/http://www.festival-cannes.fr/en/archives/ficheFilm/id/2123.html |archive-date=June 14, 2011}}</ref> also receiving four [[Academy Awards|Oscar]] nominations, including [[Academy Award for Best Picture|Best Picture]]. The critical and financial success of ''Taxi Driver'' encouraged Scorsese to move ahead with his first big-budget project: the highly stylized musical ''[[New York, New York (1977 film)|New York, New York]]''. This tribute to Scorsese's home town and the classic Hollywood musical was a box-office failure. The film was the director's third collaboration with De Niro, co-starring with [[Liza Minnelli]]. The film is best remembered today for the title theme song, which was popularized by [[Frank Sinatra]]. Although possessing Scorsese's usual visual panache and stylistic bravura, many critics felt its enclosed studio-bound atmosphere left it leaden in comparison with his earlier work. Despite its weak reception, the film is regarded positively by some critics. [[Richard Brody]] wrote: {{blockquote|For Scorsese, a lifelong cinephile, the essence of New York could be found in its depiction in classic Hollywood movies. Remarkably, his backward-looking tribute to the golden age of musicals and noirish romantic melodramas turned out to be one of his most freewheeling and personal films.<ref>{{cite magazine |last=Brody |first=Richard |url=https://www.newyorker.com/arts/events/revivals/2008/01/28/080128gomo_GOAT_movies_brody |title=Top of the Heap |magazine=[[The New Yorker]] |at=DVD Notes (column) |date=January 28, 2008 |access-date=July 25, 2013|archive-url=https://web.archive.org/web/20080124000216/http://www.newyorker.com/arts/events/revivals/2008/01/28/080128gomo_GOAT_movies_brody|archive-date=January 24, 2008}}</ref>}}

In 1977, he directed the Broadway musical ''[[The Act (musical)|The Act]]'', starring Minnelli.<ref>{{cite web |last1=Bailey |first1=Jason |title=Martin Scorsese's Weirdest Projects – Page 2 |url=http://flavorwire.com/475332/martin-scorseses-weirdest-projects/2 |website=[[Flavorwire]] |access-date=May 17, 2016 |date=September 3, 2014 |url-status=live |archive-url=https://web.archive.org/web/20160616190243/http://flavorwire.com/475332/martin-scorseses-weirdest-projects/2 |archive-date=June 16, 2016}}</ref> The disappointing reception of ''New York, New York'' drove Scorsese into depression. By this stage Scorsese had developed a serious [[cocaine]] addiction. However, he did find the creative drive to make the highly regarded ''[[The Last Waltz]]'', documenting the final concert by [[The Band]]. It was held at the [[Winterland Ballroom]] in San Francisco on [[Thanksgiving Day]], 1976, and featured one of the most extensive lineups of prominent guest performers at a single concert, including [[Bob Dylan]], [[Neil Young]], [[Ringo Starr]], [[Muddy Waters]], [[Joni Mitchell]], [[Van Morrison]], [[Paul Butterfield]], [[Neil Diamond]], [[Ronnie Wood]] and [[Eric Clapton]]. However, Scorsese's commitments to other projects delayed the release of the film until 1978. Another Scorsese-directed documentary, titled ''[[American Boy: A Profile of Steven Prince|American Boy]]'', also appeared in 1978, focusing on Steven Prince, the cocky gun salesman who appeared in ''Taxi Driver''. A period of wild partying followed, damaging Scorsese's already fragile health. Scorsese helped provide footage for the documentary ''[[Elvis on Tour]]''.

By several accounts (Scorsese's included), De Niro saved Scorsese's life when he persuaded him to kick his [[cocaine]] addiction to make his highly regarded film ''[[Raging Bull]]''. [[Mark Singer (journalist)|Mark Singer]] summarized Scorsese's condition: <blockquote>He (Scorsese) was more than mildly depressed. Drug abuse, and abuse of his body in general, culminated in a terrifying episode of internal bleeding. Robert De Niro came to see him in the hospital and asked, in so many words, whether he wanted to live or die. If you want to live, De Niro proposed, let's make this picture—referring to ''Raging Bull'', an as-told-to book by Jake LaMotta, the former world middleweight boxing champion, that De Niro had given him to read years earlier.<ref>{{cite magazine| author=Singer, Mark| title=The Man Who Forgets Nothing.| magazine=[[The New Yorker]]| date= March 19, 2000| url=https://www.newyorker.com/magazine/2000/03/27/the-man-who-forgets-nothing-2}}</ref></blockquote> Convinced that he would never make another movie, he poured his energies into making the violent biopic of middleweight boxing champion [[Jake LaMotta]], calling it a [[kamikaze]] method of film-making.<ref>{{cite news |url=http://film.guardian.co.uk/interview/interviewpages/0,6737,867652,00.html |title=Are we ever going to make this picture? |newspaper=[[The Guardian]] |date=January 3, 2003 |first=Alex |last=Williams |location=London |url-status=live |archive-url=https://web.archive.org/web/20080210025056/http://film.guardian.co.uk/interview/interviewpages/0%2C6737%2C867652%2C00.html |archive-date=February 10, 2008}}</ref> The film is widely viewed as a masterpiece and was voted the greatest film of the 1980s by Britain's ''[[Sight & Sound]]'' magazine.<ref>{{cite news |url=http://film.guardian.co.uk/Century_Of_Films/Story/0,,112416,00.html |title=Martin Scorsese: Raging Bull |newspaper=The Guardian |date=December 9, 1999 |first=Derek |last=Malcolm |location=London |url-status=live |archive-url=https://web.archive.org/web/20080512004828/http://film.guardian.co.uk/Century_Of_Films/Story/0%2C%2C112416%2C00.html |archive-date=May 12, 2008}}</ref><ref>{{Cite news |url=https://www.usatoday.com/life/movies/news/2005-02-07-dvd-raging-bull_x.htm |title='Raging Bull' returns to the ring |work=[[USA Today]] |date=February 7, 2005 |first=Mike |last=Snider|access-date=September 4, 2017|archive-url=https://web.archive.org/web/20120512114656/http://www.usatoday.com/life/movies/news/2005-02-07-dvd-raging-bull_x.htm|archive-date=May 12, 2012|url-status=live}}</ref> It received eight Oscar nominations, including Best Picture, [[Academy Award for Best Actor|Best Actor]] for De Niro, [[Academy Award for Best Supporting Actress|Best Supporting Actress]] for [[Cathy Moriarty]], [[Academy Award for Best Supporting Actor|Best Supporting Actor]] for [[Joe Pesci]] and Scorsese's first for [[Academy Award for Best Director|Best Director]]. De Niro won, as did Thelma Schoonmaker for editing, but Best Director went to [[Robert Redford]] for ''[[Ordinary People]]''. From this work onwards, Scorsese's films are always labeled as "A Martin Scorsese Picture" on promotional material. ''Raging Bull'', filmed in high contrast black and white, is where Scorsese's style reached its zenith: ''Taxi Driver'' and ''New York, New York'' had used elements of [[expressionism]] to replicate psychological points of view, but here the style was taken to new extremes, employing extensive [[slow-motion]], complex [[tracking shot]]s, and extravagant distortion of perspective (for example, the size of boxing rings would change from fight to fight).<ref>{{cite web |url=http://www.eufs.org.uk/films/raging_bull.html |title=Raging Bull |publisher=Eufs.org.uk |date=March 5, 2001 |access-date=March 3, 2010 |url-status=dead |archive-url=https://web.archive.org/web/20090430185450/http://www.eufs.org.uk/films/raging_bull.html |archive-date=April 30, 2009}}</ref> Thematically too, the concerns carried on from ''Mean Streets'' and ''Taxi Driver'': insecure males, violence, guilt, and redemption.

[[File:Paul Schrader Montclair Film Festival (cropped).jpg|thumb|left|170px|Scorsese collaborator [[Paul Schrader]] wrote the scripts for ''[[Taxi Driver (film)|Taxi Driver]]'' (1976) and ''[[Raging Bull]]'' (1980)]]
Although the screenplay for ''Raging Bull'' was credited to Paul Schrader and [[Mardik Martin]] (who earlier co-wrote ''Mean Streets''), the finished script differed extensively from Schrader's original draft. It was rewritten several times by various writers including [[Jay Cocks]]. The final draft was largely written by Scorsese and De Niro.<ref>{{cite news |title=Ageing bulls return |newspaper=Observer |url=http://film.guardian.co.uk/Feature_Story/feature_story/0,,98151,00.html |date=October 31, 1999 |first=Mark |last=Morris |location=London |url-status=live |archive-url=https://web.archive.org/web/20080111064454/http://film.guardian.co.uk/Feature_Story/feature_story/0%2C%2C98151%2C00.html |archive-date=January 11, 2008}}</ref> In 1997, the [[American Film Institute]] ranked ''Raging Bull'' as the twenty-fourth greatest American film of all time on their [[AFI's 100 Years&nbsp;... 100 Movies]] list. In 2007, they ranked ''Raging Bull'' as the fourth American greatest film on their [[AFI's 100 Years&nbsp;... 100 Movies (10th Anniversary Edition)]] list.

Scorsese's next project was his fifth collaboration with De Niro, ''[[The King of Comedy (film)|The King of Comedy]]'' (1982). It is a [[satire]] on the world of media and celebrity, whose central character is a troubled [[loner]] who ironically becomes famous through a criminal act ([[kidnapping]]).<ref>{{cite web |url=https://www.timeout.com/film/78730.html |title=The King of Comedy Film Review |work=Timeout.com |access-date=March 3, 2010 |url-status=live |archive-url=https://web.archive.org/web/20080110220949/http://www.timeout.com/film/78730.html |archive-date=January 10, 2008}}</ref> The film was an obvious departure from the more emotionally committed films he had become associated with. Visually, it was far less kinetic than the style Scorsese had developed previously, often using a static camera and long takes.<ref>{{cite web |author=evil jimi |url=http://www.ehrensteinland.com/htmls/library/koc.html |title=The King of Comedy |publisher=Ehrensteinland.com |access-date=March 3, 2010 |url-status=live |archive-url=https://web.archive.org/web/20090326054035/http://www.ehrensteinland.com/htmls/library/koc.html |archive-date=March 26, 2009}}</ref> Here the expressionism of his previous work gave way to moments of almost total [[surrealism]]. It still bore many of Scorsese's trademarks, however. ''The'' ''King of Comedy'' failed at the box office, but has become increasingly well regarded by critics in the years since its release. German director [[Wim Wenders]] numbered it among his 15 favorite films.<ref>{{cite web |url=http://www.wim-wenders.com/news_reel/2002/apr02-directorsonfilm.htm |title=The Official Site |publisher=[[Wim Wenders]] |access-date=March 3, 2010|archive-url=https://web.archive.org/web/20020618113722/http://www.wim-wenders.com/news_reel/2002/apr02-directorsonfilm.htm|archive-date=June 18, 2002}}</ref> In 1983, Scorsese made a brief [[cameo appearance]] in ''[[Anna Pavlova (film)|Anna Pavlova]]'' (also known as ''A Woman for All Time''), originally intended to be directed by one of his heroes, [[Michael Powell]]. This led to a more significant acting appearance in [[Bertrand Tavernier]]'s [[jazz]] film ''[[Round Midnight (film)|Round Midnight]]''. He also made a brief venture into television, directing an episode of [[Steven Spielberg]]'s ''[[Amazing Stories (1985 TV series)|Amazing Stories]]''.

With ''[[After Hours (film)|After Hours]]'' (1985), for which he won a [[Cannes Film Festival Award for Best Director|Best Director Award]] at Cannes, Scorsese made an esthetic shift back to a pared-down, almost "underground" film-making style. Filmed on an extremely low budget, on location, and at night in the [[SoHo]] neighborhood of Manhattan, the film is a black comedy about one increasingly misfortunate night for a mild New York word processor ([[Griffin Dunne]]) and features cameos by such disparate actors as [[Teri Garr]] and [[Cheech & Chong]]. Along with the 1987 [[Michael Jackson]] music video "[[Bad (Michael Jackson song)#Music video|Bad]]", in 1986 Scorsese made ''[[The Color of Money]]'', a sequel to [[Robert Rossen]]'s ''[[The Hustler]]'' (1961) with [[Paul Newman]], which co-starred [[Tom Cruise]]. Although adhering to Scorsese's established style, ''The Color of Money'' was Scorsese's first official foray into mainstream film-making. The film finally won Newman an Oscar and gave Scorsese the clout to finally secure backing for a project that had been a longtime goal for him: ''[[The Last Temptation of Christ (film)|The Last Temptation of Christ]]''.

In 1983, Scorsese began work on this long-cherished personal project. ''The Last Temptation of Christ'', based on the [[The Last Temptation of Christ (novel)|1955 novel]] by [[Nikos Kazantzakis]], retold the life of [[Christ]] in human rather than divine terms. [[Barbara Hershey]] recalls introducing Scorsese to the book while they were filming ''Boxcar Bertha''.<ref name=TCM>{{cite web |url=https://www.tcm.com/this-month/article/194050 |publisher=[[Turner Classic Movies]] |title=Boxcar Bertha |access-date=November 17, 2015 |url-status=live |archive-url=https://web.archive.org/web/20101006002322/http://www.tcm.com/thismonth/article/?cid=194050 |archive-date=October 6, 2010}}</ref> The film was slated to shoot under the [[Paramount Pictures]] banner, but shortly before principal photography was to start, Paramount pulled the plug on the project, citing pressure from religious groups. In this aborted 1983 version, [[Aidan Quinn]] was cast as Jesus, and [[Sting (musician)|Sting]] was cast as [[Pontius Pilate]]. (In the 1988 version, these roles were played by [[Willem Dafoe]] and [[David Bowie]] respectively.) However, following his mid-1980s flirtation with commercial Hollywood, Scorsese made a major return to personal filmmaking with the project; [[Universal Pictures]] agreed to finance the film as Scorsese agreed to make a more mainstream film for the studio in the future (it eventually resulted in ''[[Cape Fear (1991 film)|Cape Fear]]'').<ref>{{cite web |url=https://www.carseywolf.ucsb.edu/wp-content/uploads/2018/07/MIP_TomPollock_Interview.pdf |archive-url=https://web.archive.org/web/20211003040133/https://www.carseywolf.ucsb.edu/wp-content/uploads/2018/07/MIP_TomPollock_Interview.pdf |archive-date=October 3, 2021 |title=Tom Pollock, Montecito Picture Company |website=carseywolf.ucsb.edu |date=October 22, 2010 |access-date=November 12, 2021}}</ref> Even prior to its 1988 release, the film (adapted by ''Taxi Driver'' and ''Raging Bull'' veteran Paul Schrader) caused a massive furor, with worldwide protests against its perceived [[blasphemy]] effectively turning a low-budget independent film into a media sensation.<ref>{{cite news |url=https://www.pbs.org/wgbh/cultureshock/flashpoints/theater/lasttemptation.html |title=Martin Scorsese's The Last Temptation of Christ |publisher=[[Pbs.org]] |access-date=March 3, 2010 |url-status=live |archive-url=https://web.archive.org/web/20100830074627/http://www.pbs.org/wgbh/cultureshock/flashpoints/theater/lasttemptation.html |archive-date=August 30, 2010}}</ref> Most of the controversy centered on the final passages of the film, which depicted Christ marrying and raising a family with [[Mary Magdalene]] in a [[Satan]]-induced [[hallucination]] while on the cross.

In 1986, Scorsese directed the 18-minute short film ''[[Bad (Michael Jackson song)|Bad]]'' featuring [[Michael Jackson]] and [[Wesley Snipes]] (in his film debut). The short also serves as a [[music video]] and was shot in the [[Hoyt–Schermerhorn Streets station]] in [[Brooklyn]] over a 6-week period during November and December 1986. Chapman was the film's cinematographer. The direction and choreography were heavily influenced by ''[[West Side Story (1961 film)|West Side Story]]'' (1961). Scorsese also noted the influence of ''Taxi Driver'' in [[Spike Lee]]'s documentary ''[[Bad 25 (film)|Bad 25]]'' (2012).<ref>{{cite web|url= https://www.youtube.com/watch?v=RA3TasRXh8U|title= Michael Jackson – Making Of Bad (BAD 25) Documentary|website= [[YouTube]]|access-date= November 26, 2020|archive-date= November 21, 2020|archive-url= https://web.archive.org/web/20201121011538/https://www.youtube.com/watch?v=RA3TasRXh8U|url-status= live}}</ref> The short has been praised by critics as one of the greatest and most iconic videos of all time.<ref>{{Cite magazine|url=https://www.billboard.com/articles/columns/pop/7949240/michael-jackson-bad-interviews-quincy-jones-welsey-snipes|title=Michael Jackson's 'Bad': Quincy Jones, Wesley Snipes & Other Collaborators Tell the Stories of the Album's Five No. 1 Singles|magazine=Billboard|access-date=November 6, 2019|archive-date=December 27, 2020|archive-url=https://web.archive.org/web/20201227045128/https://www.billboard.com/articles/columns/pop/7949240/michael-jackson-bad-interviews-quincy-jones-welsey-snipes|url-status=live}}</ref><ref name=":0">{{Cite web|url=https://www.theyoungfolks.com/review/108840/from-the-record-crate-michael-jackson-bad-1987/|title=From the Record Crate: Michael Jackson – "Bad" (1987) |website=The Young Folks|date=August 31, 2017|access-date=November 6, 2019|archive-date=November 1, 2020|archive-url=https://web.archive.org/web/20201101213023/https://www.theyoungfolks.com/review/108840/from-the-record-crate-michael-jackson-bad-1987/|url-status=live}}</ref><ref>{{Cite web|url=http://www.upscalehype.com/2018/09/how-michael-jacksons-bad-music-video-influenced-fashion/|title=How Michael Jackson's 'BAD' Music Video Influenced Fashion|date=September 5, 2018|website=UpscaleHype|access-date=November 6, 2019|archive-date=December 27, 2020|archive-url=https://web.archive.org/web/20201227045131/http://www.upscalehype.com/2018/09/how-michael-jacksons-bad-music-video-influenced-fashion/|url-status=live}}</ref> That year, he had signed a deal with upstart major [[Walt Disney Studios (division)|The Walt Disney Studios]] to produce and direct features, following the success of ''[[The Color of Money]]''.<ref>{{Cite news|last=Galbraith|first=Jane|date=November 12, 1986|title=Scorsese In 2-Year Producing-Directing Deal At Walt Disney|pages=4, 23|work=[[Variety (magazine)|Variety]]}}</ref>

Looking past the controversy, ''The Last Temptation of Christ'' gained critical acclaim and remains an important work in Scorsese's canon: an explicit attempt to wrestle with the spirituality underpinning his films up until that point. He received his second nomination for a Best Director Academy Award (again unsuccessfully, this time losing to [[Barry Levinson]] for ''[[Rain Man]]''). Scorsese directed "Life Lessons", one of three segments in the anthology film ''[[New York Stories]]'' (1989). Ebert gave the film a mixed review, while praising Scorsese's short as "really successful".<ref>{{cite web|url= https://www.rogerebert.com/reviews/new-york-stories-1989|title= New York Stories|website= Rogerebert.com|access-date= November 26, 2020|archive-date= December 27, 2020|archive-url= https://web.archive.org/web/20201227045146/https://www.rogerebert.com/reviews/new-york-stories-1989|url-status= live}}</ref>