A New York stockbroker refuses to cooperate in a large securities fraud case involving corruption on Wall Street, corporate banking world and mob infiltration. Based on Jordan Belfort’s autobiography.
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Credits: TheMovieDb.

Film Cast:

• Jordan Belfort: Leonardo DiCaprio
• Donnie Azoff: Jonah Hill
• Naomi Lapaglia: Margot Robbie
• Mark Hanna: Matthew McConaughey
• Agent Patrick Denham: Kyle Chandler
• Max Belfort: Rob Reiner
• Brad Bodnick: Jon Bernthal
• Jean-Jacques Handali: Jean Dujardin
• Chester Ming: Kenneth Choi
• Nicky “Rugrat” Koskoff: P. J. Byrne
• Toby Welch: Ethan Suplee
• Robbie “Pinhead” Feinberg: Brian Sacca
• Alden “Sea Otter” Kupferberg: Henry Zebrowski
• Manny Riskin: Jon Favreau
• Teresa Petrillo: Cristin Milioti
• Aunt Emma: Joanna Lumley
• Steve Madden: Jake Hoffman
• Leah Belfort: Christine Ebersole
• Captain Ted Beecham: Shea Whigham
• Janet: Aya Cash
• Chantalle: Katarina Čas
• Bo Dietl: Bo Dietl
• Nicholas the Butler: Jon Spinogatti
• Kalil: Rizwan Manji
• Kimmie Belzer: Stephanie Kurtzuba
• Lucas Solomon: J. C. MacKenzie
• Rochelle Applebaum: Ashlie Atkinson
• Jerry Fogel: Stephen Kunken
• Agent Hughes: Ted Griffin
• Aliyah Farran: Sandra Nelson
• Rothschild Broker #1: Dan Bittner
• Dwayne: Spike Jonze
• Hildy Azoff: Mackenzie Meehan
• Stratton Broker in a Bowtie: Thomas Middleditch
• Stratton Oakmont Commercial (voice): Edward Herrmann
• Auckland Straight Line Host: Jordan Belfort
• Honorary Samantha Stogel: Fran Lebowitz
• Nolan Drager (Jordan’s Lawyer): Robert Clohessy
• Waitress: Welker White
• Zip (Lude Buying Teenager #1): Danny Flaherty
• Pam: Carla Corvo
• Heidi: Madison McKinley
• Blair Hollingsworth: Aaron Lazar
• SEC Attorney #1: Steve Routman
• SEC Attorney #2: Steve Witting
• SEC Attorney #3: Charley Morgan
• Barry Kleinman: Michael Nathanson
• Straight Line Testimonial #1: Kathleen Fellegara
• Rothschild Broker #2: John Behlmann
• Rothschild Broker #3: Ward Horton
• Rothschild Broker #4: Bret Shuford
• Rothschild Broker #8: J.T. O’Connor
• Investor’s Center Broker #1: Steven Boyer
• Investor’s Center Broker #2: Danny A. Abeckaser
• Stratton Broker #1: Matthew Rauch
• Stratton Broker #2: Michael Izquierdo
• Stratton Broker #3: Donnie Keshawarz
• Stratton Broker #4: Johnathan Tchaikovsky
• Stratton Broker #5: Aaron Glaser
• Stratton Broker #6: Ben Rameaka
• Young Broker: Brian Charles Johnson
• Another Broker: Sebastian Tillinger
• Party Broker #1: Chris Riggi
• Donnie’s Assistant: Meghan Rafferty
• Maitre d’ Hector: José Ramón Rosario
• Broker in Men’s Room: Davram Stiefler
• Honorary Raymond Samitz: Dan Daily
• Swiss Customs Officer #1: Ben Van Bergen
• Swiss Customs Officer #2: Matte Osian
• Cop #1: Michael Devine
• Cop #2: Jason Furlani
• Police Officer #2: Jeremy Bobb
• Brookville Police Officer #2: Tom Greer
• Wedding Singer #1: Sharon Jones
• Cristy: Emily Tremaine
• Hostess on The Naomi: Zineb Oukach
• Skylar Belfort (4 Years Old): Giselle Eisenberg
• Lude Buying Teenager #2: Deema Aitken
• Job Applicant #1: Ashley Springer
• Abby: Rémy Bennett
• FBI Agent #1: Catherine Curtin
• FBI Agent #2: Paul Urcioli
• Prison Guard: Michael O’Hara
• Inmate Playing Tennis #2: Michael Bryan French
• Rao’s Patron #1: Armen Garo
• Rao’s Patron #2: Garry Pastore
• Rao’s Patron #3: Louis Vanaria
• Audience Member #1: Peter Youngblood Hills
• Audience Member #3: Brendan Griffin
• Audience Member #4: Derek Milman
• Audience Member #5: Victor Verhaeghe
• Rocco #1: Chris Caldovino
• Wedding Guest (uncredited): Fileena Bahris
• Wedding Guest (uncredited): Silvia Kal
• Wedding Guest (uncredited): Kamron Leal
• Kacandes Diner Man (uncredited): Tommy Bayiokos
• Italian Coastguard (uncredited): Gianni Biasetti Jr.
• Broker (uncredited): Rick Bolander
• Broker (uncredited): Spenser Granese
• Stratton Broker (uncredited): Julian Brand
• Stratton Broker (uncredited): Kenneth Carrella
• Stratton Broker (uncredited): Austin Farwell
• Stratton Broker (uncredited): Zach Miko
• Stratton Broker (uncredited): Tyler Evan Rowe
• Stratton Broker (uncredited): Stefano Villabona
• Upper Eastside Pedestrian (uncredited): Gregory Brown
• Wolfpack #4 (uncredited): Tucker Bryan
• Wolfpack #1 (uncredited): Michael Jefferson
• Young Stratton Inc. Broker (uncredited): Bryan Burton
• Broker Applicant (uncredited): Mike Catapano
• Audience Member (uncredited): Steven Conroy
• Pool Party Guest (uncredited): Kelsey Deanne
• Nicky Koskoff’s Escort (uncredited): Maria Di Angelis
• Tai Chi Inmate (uncredited): Matthew Gooley
• Swiss Airline Passenger (uncredited): London Hall
• Rao’s Pedestrian (uncredited): Rosemary Howard
• Kimmie Belzer’s Desk Mate (uncredited): Chris Kerson
• Singer: Natasha Kojic
• Brantley (uncredited): Ben Leasure
• Marina Sightseer (uncredited): Paul Jude Letersky
• Irritated Plane Passinger (uncredited): Will MacAdam
• Party Goer (uncredited): Jeff Moffitt
• Miami Busboy (uncredited): Chris Nunez
• Masseuse to Donnie Azoff (uncredited): Seregon O’Dassey
• Court Room Attendant (uncredited): Joseph Oliveira
• Stratton Applicant (uncredited): And Palladino
• Seminar Guest (uncredited): Michael Power
• Stripper (uncredited): Nicole Rutigliano
• Convention Attendee (uncredited): Sibyl Santiago
• Kent – Broker (uncredited): Vitaliy Shtabnoy
• Stock Broker (uncredited): Blago Simon
• 1st Class Swiss Airline Passenger (uncredited): Paul Thornton
• Call Girl (uncredited): Madeleine Wade
• Banker (uncredited): David Wenzel
• Rudy (uncredited): Joe Zaso
• Conference Attendee (uncredited): Francis Brooke
• Nasdaq Hooker: Jaclyn Keys
• Pink Sheet Hooker: Krista Ashworth
• Bottoms Up Hooker: Natalie Bensel

Film Crew:

• Director of Photography: Rodrigo Prieto
• Producer: Martin Scorsese
• Sound Effects Editor: Eugene Gearty
• Co-Producer: Ted Griffin
• Casting: Ellen Lewis
• Executive Producer: Georgia Kacandes
• Editor: Thelma Schoonmaker
• Stunts: Martin Klebba
• Special Effects: Richard Stutsman
• Post Production Supervisor: Kelley Cribben
• ADR & Dubbing: David Boulton
• Producer: Leonardo DiCaprio
• Costume Design: Sandy Powell
• Executive Producer: Irwin Winkler
• Assistant Art Director: W. Steven Graham
• Dialect Coach: Tim Monich
• Visual Effects Supervisor: Mark Owen Forker
• Special Effects: R. Bruce Steinheimer
• Art Direction: Chris Shriver
• Production Sound Mixer: James Sabat
• Executive Producer: Rick Yorn
• Music Supervisor: Randall Poster
• Co-Producer: Richard Baratta
• Executive Producer: Danny Dimbort
• Producer: Emma Tillinger Koskoff
• Thanks: Petrea Burchard
• Compositors: Brian Sales
• Set Decoration: Ellen Christiansen
• Stunts: Declan Mulvey
• Screenplay: Terence Winter
• Foley Editor: Kam Chan
• Foley: Marko Costanzo
• First Assistant Sound Editor: Chris Fielder
• Additional Editing: Ruth Hernandez
• Supervising ADR Editor: Marissa Littlefield
• Executive Music Producer: Robbie Robertson
• Executive Producer: Alexandra Milchan
• Visual Effects Editor: Matt Garner
• Stunts: Gary Tacon
• Thanks: Michael Bloomberg
• Thanks: Gina Telaroli
• Stunt Coordinator: Blaise Corrigan
• Stunts: Peter Epstein
• Set Dresser: Brian Jones
• Stunts: Stephen A. Pope
• Stunts: Christopher Place
• Assistant Costume Designer: Christopher Peterson
• Utility Stunts: Monty L. Simons
• Stunts: Roy T. Anderson
• Book: Jordan Belfort
• Still Photographer: Mary Cybulski
• Stunts: Bobby Beckles
• Producer: Riza Aziz
• Producer: Joey McFarland
• Foley: George A. Lara
• Special Effects Supervisor: Drew Jiritano
• Stunts: Aaron Vexler
• Stunt Coordinator: G. A. Aguilar
• Special Effects: Chuck Khoury
• First Assistant Director: Adam Somner
• Stunts: Asa Liebmann
• Stunts: George B. Colucci Jr.
• Stunts: David Hugghins
• Stunts: Jon Trosky
• Stunts: Jeffrey Lee Gibson
• Thanks: Peter Pappas
• Associate Producer: Marianne Bower
• Stunts: Stephen W. Schriver
• Thanks: Michael Storm Raven
• Foley Editor: Frank Kern
• Makeup Department Head: Mindy Hall
• Makeup Department Head: Bridget O’Neill
• Assistant Art Director: John Pollard
• Costume Supervisor: David Davenport
• Stunts: Samantha MacIvor
• Stunts: Jared Burke
• Dialogue Editor: Philip Stockton
• Prosthetic Supervisor: Chris Kelly
• Scenic Artist: Colin Brantley
• Visual Effects: Justin Ferk
• Stunts: Trampas Thompson
• Stunts: Drew Leary
• Stunts: Corey Pierno
• Visual Effects Supervisor: Paul Graff
• Visual Effects Producer: Max Leonard
• Stunts: Trevor Habberstad
• Set Costumer: Nina Cinelli
• VFX Supervisor: Edson Williams
• Visual Effects Producer: Glenn Allen
• Visual Effects Producer: Richard Friedlander
• Transportation Captain: Michael Hyde
• Assistant Art Director: David Meyer
• Visual Effects Supervisor: Craig Barron
• Visual Effects Supervisor: Joe Farrell
• Electrician: Edward Cohen
• Visual Effects Producer: Charlene Eberle Douglas
• Sound Re-Recording Mixer: Tom Fleischman
• Art Department Coordinator: Sha-Sha Shiau
• Hairstylist: Kathryn Blondell
• Second Unit Director: Robert Legato
• Music Editor: Jennifer Dunnington
• Unit Publicist: Larry Kaplan
• ADR & Dubbing: Greg Steele
• Construction Coordinator: Raymond M. Samitz
• Leadman: Philip Canfield
• Camera Operator: Maceo Bishop
• Art Department Coordinator: Alyssa Motschwiller
• Scenic Artist: Chris Bertholf
• Scenic Artist: Claire Bretschneider
• Property Master: Robert Griffon Jr.
• ADR Editor: Deborah Wallach
• Assistant Art Director: Jonathan Arkin
• Wigmaker: Amanda Miller
• Visual Effects: Jason Kolowski
• Makeup Artist: Sian Grigg
• Digital Intermediate: Élodie Ichter
• Production Design: Bob Shaw
• Hairstylist: Joseph Whitmeyer
• Set Costumer: Allison Pokladowski
• Picture Car Coordinator: Ian Clarke
• Driver: Charles Heidet
• Hairstylist: Valerie Velez
• Dialogue Editor: Branka Mrkic
• Visual Effects Supervisor: Eran Dinur
• Greensman: Amy Safhay
• Set Costumer: Monica Russell
• Stunts: Ian Mclaughlin
• Stunts: Dean Neistat
• Stunts: Jeremy Sample
• Makeup Artist: Francesca Buccellato
• Boom Operator: Frank Graziadei
• Makeup Artist: Jill Astmann
• Grip: Shaun Lowry
• CG Supervisor: Lukas Lepicovsky
• Location Scout: Nick Carr
• Rigging Gaffer: Richie Ford
• Visual Effects Producer: Mark Russell
• Stunts: Victor Paguia
• Set Costumer: Wade Sullivan
• Hairstylist: Jovan Vitagliano
• Casting Associate: Allison Hall
• Casting Associate: Matthew Maisto
• Visual Effects Editor: Christian Madera
• Grip: Michael J. Prate
• Grip: Tom Prate
• Grip: Joe Sarao
• Grip: Joey Evora
• Hairstylist: R. Cory McCutcheon
• Special Effects: Joe Montenegro
• Hairstylist: Susan Schectar
• Digital Intermediate: Philippe Majdalani
• Music Coordinator: Meghan Currier
• Makeup Artist: Mary Anne Spano
• Hair Department Head: Michael Kriston
• Foley Editor: Heather Gross
• Script Supervisor: Holly Unterberger
• Location Scout: Philip Lobban
• Digital Intermediate: Yvan Lucas
• Stunts: Aja Frary
• Stunts: Mark Fichera
• Casting Associate: Meghan Rafferty
• First Assistant Camera: Zoran Veselic
• Set Costumer: Cookie Lopez
• Set Medic: Rich Fellegara
• Stunts: Chris Cenatiempo
• Rigging Grip: William D. Moran
• Set Medic: Kathleen Fellegara
• Production Supervisor: John DeSimone
• Production Manager: Francesco Marras
• Greensman: Sam Rosedietcher
• Foley Editor: Jamie Baker
• Boom Operator: Carmine Picarello
• Boom Operator: Bret Scheinfeld
• Boom Operator: Dan Wesson
• Animation Supervisor: Bernd Angerer
• Compositors: Brian Battles
• Compositors: Dave Levine
• Compositors: Carl Stern
• Compositors: Jeremiah Sweeney
• Visual Effects: Luca Gabriele Rossetti
• Stunts: Scott Burik
• Stunts: Mike Burke
• Stunts: Nicole Callender
• Stunts: Ned Corrigan
• Stunts: William Cote
• Stunts: Neimah Djourabchi
• Stunts: Geoffrey Dowell
• Stunts: Shane Geraghty
• Stunts: Dina L. Margolin
• Stunts: Balint Pinczehelyi
• Stunts: Kevin Rogers
• Stunts: Shawnna Thibodeau
• Stunts: Caroline Vexler
• Stunts: Chris Barnes
• Stunts: Owen Holland
• Stunts: Josh Lakatos
• Rigging Grip: Kevin Flynn
• First Assistant Camera: Bobby Mancuso
• Grip: Adam Barbay
• First Assistant Camera: Stephen Ciffone
• Electrician: Brett Heicher
• Electrician: Kevin Karpinski
• Electrician: Jason Montague
• Rigging Grip: John Nasta
• Grip: Chad Lear Plunkett
• Grip: Zachary Poots
• Lighting Technician: Harry Pray IV
• Grip: Steve Sterling
• Digital Intermediate: Matt Breitenbach
• Thanks: Katherine Oliver
• Set Production Assistant: Arusha Baker
• Location Manager: Nils Widboom
• Security: Mark Behar
• Dialect Coach: Tanya Blumstein
• Location Scout: Jeffrey A. Brown
• Stand In: Jay Ferraro
• Set Production Assistant: Nick Mann
• Special Effects: Andrew Mortelliti
• Stunts: Don Hewitt Sr.
• Stunt Double: Gianni Biasetti Sr.
• Thanks: Jho Low
• Set Dresser: Patrice Canfield Longo
• Visual Effects Producer: Rachel Berry
• Set Dresser: Damon Hahn

Movie Reviews:

• Jacob: The Wolf of Wall Street is so addicting to watch, that even with it’s 3 hour long run time, you wont be surprised if you end up watching it four days in a row.
  This is Scorsese letting loose and having fun, showing all of the debauchery (and man, is there a lot) in all of it’s glory. There are orgies, sex, nudity, copious amounts of drug use, and it now holds the record for the most use of fuck in any film.
  Leonardo DiCaprio gives a towering and hilarious performance as Jordan Belfort. He throws himself into the role with free abandon, while also showing that he’s aces when it comes to comic timing and physical comedy. If he doesn’t win an Oscar this season I’ll be quite upset, though Matt from Dallas Buyers Club rightfully deserves it as well. But this is a 3 hour long film, and Leo is in every single second of every single scene. He’s ferocious, hilarious, out of his mind, and flat out brilliant.
  The supporting players are tops as well. I was somewhat baffled when Jonah Hill earned a nominee for Moneyball, but this time around he rightfully deserves this years nominations. With his pearly white teeth, charisma, while also throwing himself into the role with no fear, this is without a doubt his greatest work as an actor to date. The real find, however, is Margot Robbie. Strikingly beautiful, her character could have been one note, but she also hits the ball out of the court. Even Matthew Macconaughey steals the show with only one scene.
  Dangerously funny, superbly edited, and with a delicious, irreverent, savage bite. The Wolf of Wall Street is Scorsese at his wildest. And it goes without saying, that this is one of the best films of last year. Just stay away if you are in any way a prude or conservative.
  Rated R- Graphic nudity, strong sexual content, drug use throughout, pervasive language, and some violence.
• Andres Gomez: An excessive movie in all possible senses with breath taking Margot Robbie and Jonah Hill which is not long in spite of its 3h length but which ends not knowing exactly which is the point of the story.
• tmdb39513728: **Voracious Bull**

  Every time I try to enjoy a Martin Scorcese movie post-1980 I ask myself what made _Raging Bull_ so great? Did Marty burn out after his Jake LaMotta bio, the same way Coppola did after _Apocalypse Now_? These were risky movies, driven by passion, bordering on madness. Did Marty and Francis lose their natural passion for making films because industry priorities dismissed 70’s-style hyper-realism for sensational summer blockbusters and CGI spectacles? And why is Scorcese considered one of the greatest director when he really only made one truly superb movie?

  When I first saw _Raging Bull_ in 1980 I immediately knew I was watching something that transcended the typical cinematic experience. Genius was shimmering out of every perforated frame flickering on the screen. Paul, Marty, Bobby, Mike and Thelma created something that was completely absorbing. The style and substance was perfectly fueled by a flawless emotional narrative. Every element was orchestrated just right. The audience was spellbound. We were watching greatness. A rare and unique organic creation. I’m still waiting for Robert Redford to correct a travesty of justice and hand his Ocscar over to it’s rightful owner. And I’m still waiting for Scorcese to match his own brilliance. But that’s like expecting Tarantino to top _Pulp Fiction_. There’s a better chance Orson Welles rises up from the dead to one up _Citizen Kane_.

  After _Raging Bull_, Scorcese has made a string of pictures ranging from not bad to pretty good. All well-made, thoughtful and meticulously crafted films, but nothing special; certainly nothing profound. Contrary to popular opinion, _Goodfellas_ is not a great movie. I was not swept away by the saga. I was annoyed rather by the fragmented non-stop soundtrack and incessant up-tempo style. Marty wasn’t risking anything anymore. He seemed to be afraid of boring the audience. Perhaps he was trying to revive the 1940’s never-let-up screwball-bouncing farcical Preston Sturges and co. comedies. But this is a mafia film. This should have been right up Marty’s alley. It’s been almost a quarter of a century since De Niro got his face busted in a boxing ring. Since the raw, robust and naive will-power of LaMotta’s youth plunged into the pathetic, brutal, bone-headed stupidity of his later years. Similarly, Scorsese hasn’t registered a knock-out punch since. Would his ensuing movies be considered great if someone else directed them? Would I have liked them all better if Raging Bull had never been made?

  _The Wolf of Wall Street_ is another exhausting affair. It tries too hard to excite and entertain us. It’s afraid of slowing down, allowing us to ponder or examine the complexities of excessive greed, shameless wealth and unbridled capitalism. It desperately wants to arouse us. Like a neglected clown at a child’s birthday trying to be loved and taken seriously while draining the life out of the party. Give Leo and Jonah an “A” for effort. They couldn’t have tried harder if they broke out into song and dance every ten minutes. And they convincingly appeared to enjoy themselves freely indulging in coke, ludes and naked women every five minutes. It was nice of Leo to step back while Margot Robbie took her routine and obligatory, supporting-actress hissy fit. And you know a filmmaker has a lot of faith and confidence in his work when a superfluous narration track is added, to plug those terrifying noiseless gaps. Whatever happened to poignant, suspenseful, sure-footed, gripping, emotionally-arresting dramas that take you on a nervy, wild ride to a thoroughly gratifying climax? A truly great director from Kurosowa to, well, Scorcese-(circa 1979) would have plotted the rise and fall of a maniacal protagonist along deeper and more affecting lines even at the risk boring its audience for one minute.

• r96sk: I didn’t care for the characters, but I damn did have a great time watching ‘The Wolf of Wall Street’. It’s absolutely nuts, and I mean that in a positive way.

  Leonardo DiCaprio simply never puts an acting foot wrong, this is the sixth film I’ve seen of his and I love (fwiw: all 9/10+) them all. Phenomenal actor! He is outstanding here as Jordan Belfort, the guy this film is based upon. As noted, I didn’t really ever care for Jordan but DiCaprio makes it impossible not to enjoy watching events throughout.

  Jonah Hill (Donnie) comes in with a very good performance, the type of which I hadn’t previously seen from him; closest being, in terms of quality, ‘Moneyball’. Margot Robbie, meanwhile, isn’t easy to forget as Naomi. Though none of the following standout big, it’s pleasant to see Jon Bernthal, Matthew McConaughey and Jon Favreau, among others, appear.

  The almost three hour run time, aside from a couple of moments, goes by fairly quickly. A big reason for that is the sheer bonkers nature of the plot, which goes in so many different directions it’s impressive. It doesn’t, as I’ve already mentioned, breed likeability for the characters but I definitely had a fun time watching it all unfold. I guess it depends on what you, as a viewer, prefer. I got the desired amount of entertainment.

• sporkproductions: When I’m Scorsese’s age I just hope to still be able to chew my food and go to the bathroom unassisted. That he can still make some of the most cutting edge, visceral, and enjoyable films out there is stunning.

  Is this his best film? No. But, even a mediocre film for him is better than 99% of the movies being made.

  The performances are super-fun, the pace is relentless, the visual flare is incredible, and the story is fascinating. Is there a discussion to be had about the immorality being glamorized by this film? Sure. That’s the case for a lot of his films (and a lot of films in general). We could debate his intentions with the outcome and what the film is saying about our society all day but that’s another discussion. Is the film a joy to watch? Yes! It definitely is.