jmillerdp If you worship Martin Scorsese, then maybe you think this movie is a masterpiece, or whatever.But, if you are anyone else, you are likely going to find two-and-a-half hours of Robert De Niro and Liza Minnelli endlessly yelling at each other VERY hard to take! They pretty much just argue constantly. And, De Niro seems like he's playing a character so unlikable, it's like he's warming up for "Raging Bull." He treats Minnelli like garbage, and you just want to take a baseball bat to him pretty much throughout the whole film.The Kander and Ebb songs are great. And, some of the music staging works very well. But, that's pretty much it. One conceit is that Scorsese seems to be wanting to recreate that shot-on-a-backlot feeling. But, for someone from New York City, it definitely seems odd that Scorsese is shooting this movie pretty much anywhere BUT New York City!I think this is the movie where Scorsese said he was hopped up on drugs the whole time. Not much of an excuse, considering he was spending other people's money.The only good thing to come from this movie is that the song "New York, New York Theme" which was soon after recorded by Frank Sinatra.***** (5 Out of 10 Stars)

Desertman84 Martin Scorsese combined the splashy atmosphere of the old studio musical with an unromanticized marriage story in his valentine to Hollywood and the Big Band era.New York, New York is a musical-drama film directed by Scorsese. It is a musical tribute, featuring new songs by John Kander and Fred Ebb as well as standards, to Scorsese's home town of New York City, and stars Robert De Niro and Liza Minnelli as a pair of musicians and lovers.It features Minnelli's signature song,"New York New York".On V-J Day 1945, newly minted civilian saxophonist Jimmy Doyle meets USO singer Francine Evans at a dance, but she rebuffs every advance that he makes. A day and a hotel lobby meeting later, Jimmy finally wins Francine over after she uses her pop instincts to save his too-jazzy audition at a nightclub. When she goes on tour with Frankie Harte and his Orchestra, Jimmy tracks her down, taking a job with the orchestra to be with her. Together on stage, they make beautiful music; off stage they marry, but the struggle between two artists begins to take its toll. Unable to understand that Francine's needs and talents are just as important as his, and unwilling to compromise his music for security, Jimmy abandons Francine after their baby is born. Separately, the two succeed even more, as Francine becomes a music and movie star, while Jimmy has a top hit and opens a jazz club. When they are reunited several years later, the pair must decide if their relationship is worth another try.A downbeat homage to bright-lights showbiz dramas, an epic orchestration that indulges in stubbornly obsessive riffs, Martin Scorsese's New York, New York seems to value awkwardness and indecision above all else considering that it never pulls itself together into a coherent whole.But nevertheless,one cannot deny the fact that we're left with a good time considering the great amount of entertainment and satisfaction this musical provides.Also,Scorsese created a very handsome and dynamic film reveling in the costumes and music.Overall,it may not be the a classic but it surely does leave the viewer a wonderful time.

Lee Eisenberg OK, so Martin Scorsese took a break from his gritty movies to make an homage to old-time musicals. The result has its strengths and weaknesses. I liked how the movie ended (the ending proves that Scorsese didn't throw his dignity out the window), but I would have liked the movie better had it focused on political issues affecting the world after WWII, like "The Way We Were" did. Otherwise, "New York, New York" is worth seeing, if far from Scorsese's best movie. Liza Minnelli's small-time singer comes across as sort of silly, but Robert DeNiro's sax player makes you feel as if you're walking on eggshells (it's basically Jake LaMotta with a sax).Obviously, a lot of the scenes are clearly filmed on sets. In an introduction on the special edition DVD, Scorsese notes that it's deliberate: he wanted the movie to have the look of an old-time musical, right down to the sets. All in all, it's not a bad movie. Also starring Lionel Stander, Barry Primus, Mary Kay Place, Dick Miller (a character actor known for appearances in Roger Corman's and Joe Dante's movies), Don Calfa and Jack Haley in an uncredited cameo.Oh, and if you're wondering about the title of my review, it's a reference to "Scooby-Doo", since Casey Kasem (the voice of Shaggy) appears in "New York, New York" as a DJ.

Terrell Howell (KnightsofNi11) Ah the infamous directorial dud. I can't seem to escape you lately. And this time you appear with one of the greatest directors of all time, Martin Scorsese. But I suppose it would make sense that you would appear in the form of a three hour musical romance. New York, New York chronicles the story of two lovers, Jimmy Doyle, a talented saxophone player, and Francine Evans, a very talented singer. The two meet on V-J day and continuously fall in and out of love as they try to elevate their careers to grand heights while trying to cope with the other. It is a story of two people so wildly talented that they almost cancel each other out and cannot contend with each other because of their own immense talent. The film is an epic love saga that I don't really think needed to be that at all.What I can say about this film, and what I will always say about a Scorsese film whether I like it or not, is that the visuals are great. The settings are immaculate and beautiful and all aspects of the production fit a thriving and grandiose time period excellently. The scenes are eloquent, the costumes dazzling, the overall atmosphere is vivacious and carefree. Plus, Scorsese directs with elegant precision, capturing a lively and spirited mood throughout the film. His huge dedication to filmmaking is very evident through the style which he imprinted this film with. Few directors can capture a time period in both a physical and mental aspect but Scorsese is one of them. There is a real hint of nostalgia in this film as we return to the glorious and romantic time of post-war America.These visuals can only keep one intrigued for so long, however. And that amount of time means nothing when your film is close to three hours long. There are certain films that demand three hour runtimes because of their depth and complexity. New York, New York is not one of those films. Too many scenes in this film just seem to be there to pad the film, making it longer so as to achieve the status of romantic epic. The film is bubbling over with scenes that could have been cut or shortened significantly and the film could have played out just the same. And so as the film neared the two hour mark I became terribly bored. The film opens with a bang that is a glorious explosion on the eyes and ears but its all downhill from there. The film gets slower and slower and drags more and more thing out way longer than they need to be. I'll admit that the ending is good and closes the painfully long story as best it could, but its an ending that shouldn't have taken three hours to arrive at.I wanted to like New York, New York because I adore Scorsese. However, I couldn't bring myself to fully enjoy this film simply because it is just too long and not interesting or deep enough to warrant this kind of runtime. Scorsese certainly created a visual spectacle, but that spectacle really starts to lose its shine about two hours into the film when you know you have almost an hour left. I can't say I hated this film because it tries to be very good and succeeds in some areas, but overall it misses the mark and falls short of being great.