Since exploding on the scene with 1973's Mean Streets, Martin Scorsese has fearlessly taken dead aim at the darkest facets of modern life, the seedy underbelly of existence that most refuse to acknowledge. The unpredictable nature of Scorsese's work has led forty years worth of audiences to consider terrible people as heroes, acts of terror as cries for help, substances as both business and crutch, and yesterday's heroes as today's villains. All of his films consider the fallibility of man not as an error, but part of our nature. Though the characters are hateful, there is a means by which one can connect to and sympathize with both their successes and failures. At the conclusion of a Martin Scorsese film, there is always catharsis. The sheer emotional power of his work seeks to make us accept ourselves as both imperfect and unique. In this way, Martin Scorsese is able to address the most controversial subjects with grace. His latest film, The Wolf of Wall Street, similarly refuses to shy away from a tidy portrait of financial tomfoolery, instead lampooning and deifying the stockbrokers through the perspective of Jordan Belfort (Leonardo DiCaprio). With vulgar displays of wealth and power, the film entrances the viewer, enticing with the seeming ease by which Belfort makes his fortune, yet terrifying when compared to the instability of Belfort's personal life. Certainly irreverent, clearly pointed in its commentary, Wolf on Wall Street adds to an already lengthy list of controversial moments from Martin Scorsese, a man who always approaches the taboo with respect and genuine interest.