And now I die, a true American

Rating: 7/10 (15 November 2019)

With Gangs of New York, we begin to see Scorsese getting comfortable with his position as a visionary director, in the case where he isn't taking as many risks as he used to with films such as Taxi Driver, Last Temptation of Christ, or King of Comedy, amongst others. The story of this film isn't innovative to be exact, nor did I really expect it to be. It's a rather standard revenge story.
And there's nothing particularly wrong with the revenge story, as it's created some truly fantastic works such as Django Unchained, Mad Max, John Wick, The Count of Monte Christo, and many other great works of literature, film, and art, though some might say after a while that the revenge story has become tired, and I am one of those people who can only take revenge stories for so long before I call it a day. I suppose the main issue that I have with this film is that is isn't as dangerous, nor as powerful as some of Scorsese's other works, and it's a film that would seem to be below what Scorsese would usually take, and it's not something that usually is a part of his style, but luckily the film isn't all bad.
The film is saved from mediocrity by two things, one is the stellar direction from Scorsese, who directs the film with the eye of a grizzled veteran showing the new kids on the block how a film should be done, few shots are wasted and the setting and atmosphere of the film also lends itself to be admired. Second are the main performances from Daniel Day-Lewis and Leonardo DiCaprio, respectively. I could write an entire book about the talent that is Daniel Day-Lewis, who I not only think is possibly one of the finest actors of our age, but one who should be in the same league as other heavyweights such as Brando or Bogart. Rarely have I ever seen Daniel Day-Lewis portray a character, but to completely disappear into a role, which he does almost effortlessly with Bill The Butcher in this film. Rarely in the film does Day-Lewis not steal the show with his electrifying performance as the title villain, giving him a likability despite his depraved and vile acts and making him almost sympathetic at times as well. The other major powerhouse performance is from the film's other major star Leonardo DiCaprio, who while I can't usher the same praise as I can to Day-Lewis, I also think gives a magnificent performance in the movie, while he doesn't completely disappear into his role as he would in some of his later performances, but I did buy him as a street wise, tough kid who wants to settle some old scores. The ending of the film is also praise-worthy, as is sneaks in a subtle, yet powerful message about how time moves on from us and how, at the end of the day, the thirst for revenge and power ultimately is a futile goal to reach.
The flaws of the film are as apparent as the praise-worthy aspects of it, the rest of the performances of this film I could take or leave, they range from mediocre to passable, especially with the appearances from Cameron Diaz and John C. Reilly of all people, I suppose I might be judging too harshly since the central performances of the film are so engrossing and rousing. There could be the excuse that when you're confronted with greatness, you're overtaken with insecurity and you don't know what to do, but I don't know. Luckily, the more mediocre performances of the movie don't entirely take you out of the experience of the story, and the characters are still likeable despite some of their more stilted moments, though conversely, Brandon Gleason, on a positive note gives a rather overlooked, yet gifted performance, despite his minor role in the film.
One of Scorsese's masterworks, I wouldn't call this film. But it is still a damn good one, and watching it simply for Daniel Day-Lewis also makes it into a damn good time.