Boxcar Bertha (1970) Scorsese’s Sophomore Jinx?

“Boxcar Bertha,” a as sort of blood-and-gore sequel to Roger Corman's “Bloody Mama,” not to mention the more prestigious films it imitates, such as “Bonnie and Clyde.”

Mean Streets (1973): Scorsese’s Third Film, Starring Harvey Keitel and DeNiro Announced the Arrival of a Major Talent

Emphasizing characterization rather than plot, Mean Streets assured Scorsese a central role in contemporary film history. Densely rich and angst-ridden, his films are rooted in his Italian-American-Catholic experience, confronting themes of sin, guilt and redemption in a fiercely contemporary yet universal fashion. His explorations of male camaraderie, violent behavior, and men's deep fear of women have left a significant imprint on the work of numerous directors.

GoodFellas (1990): Scorsese’s Exuberant Biopic of Mobster Henry Hill

Dramatically flawed (the narrative is a bit shapeless and the ending could have been more powerful), “GoodFellas” nonetheless is a supremely crafted piece of filmmaking from a director at the peak of his form.

Color of Money, The (1986): Scorsese Sequel to The Hustler, Starring Paul Newman in Oscar-Winning Performance

Martin Scorsese's “The Color of Money” is an enjoyable but ultimately mediocre–and impersonal–sequel to the much-admired Paul Newman film, “The Hustler” (1960), which was directed by Robert Rossen and received multiple Oscar nominations.

King of Comedy (1983): Scorsese Directs De Niro and Jerry Lewis

As written by Paul Zimmerman and directed by Scorsese, “King of Comedy” was misinterpreted by many film critics. At heart, the movie is a pungent black comedy about a showbiz hanger-on and loser who idolizes America's top TV comedian/talk show host and figures out a bizarre scheme to get on the program. Though timely and relevant, for some reason, the film was considered too mordant and “sick” by some viewers at the time, disregarding the tale's rather accurate (and scary) portrayal of what's the best‚Äîand quickest–way to achieve celebrity status in American society today.