Every Martin Scorsese Film Ranked Worst To Best

Martin Scorsese got his start in filmmaking during the 1960s, and quickly established himself as one of the leading figures of the New Hollywood movement thanks to his focus on provocative themes and untamed violence.

Throughout his career, Scorsese has tackled a number of daring issues, the vast majority of which recur all the way through his filmography. Catholic guilt, faith, isolation, crime, greed, redemption and memory are just some of his films' most recognisable traits, and he has made everything from timeless crime-dramas to family adventures in the process.

A deeply personal director who believes in making what you know, Scorsese also has a reputation for working with the same actors across numerous projects, the most prolific of course being Robert De Niro and Leonardo DiCaprio.

He's also used the same editor, Thelma Schoonmaker, since Raging Bull (1980), someone who was instrumental in establishing the Scorsese brand we all know and love today.

Browsing through his filmography, it's remarkable to note just how many different genres and topics he's tackled, but it's even more impressive that none of his movies can actually be considered "bad." Some aren't as cohesive as others, sure, but all have appealing, even compelling aspects to admire.

With that in mind, here are all of Martin Scorsese's features ranked worst to best.

Scorsese's second feature film is in many respects his own riff on Bonnie and Clyde, which came out five years earlier and kickstarted the New Hollywood movement.

Here, David Carradine and Barbara Hershey star as Bill Shelly and Bertha Thompson, train robbers who become fugitives after being implicated in a murder.

Boxcar Bertha has all the violence and rebellion of Scorsese's later pictures, but less of the more subtle stylings that would make even his darkest films easier to digest.

Hershey in particular shines throughout, in a role that is as endearing as it is twisted, but all told Boxcar Bertha lacks the grace and meaning of Scorsese's future projects, and ends up as little more than another cheap, predictable and violent '70s crime piece - albeit a decently enjoyable one.

The fact this was produced by Roger Corman tells you exactly what kind of experience you're in for.