Martin Scorsese stands as an iconic figure in filmmaking, renowned for his unique and engaging storytelling style. His influence on cinema is profound, inspiring a wave of filmmakers who endeavor to capture his cinematic flair. Throughout the decades, directors like Quentin Tarantino have sparked trends in genres, as evidenced by the emergence of numerous ultraviolent crime thrillers in the 1990s, including Dobermann and Things to Do in Denver When You’re Dead. Similarly, Judd Apatow’s impact on comedy in the 2000s led to a pronounced emphasis on improvisation, altering the landscape of film humor.
Scorsese’s vivid approach to crime storytelling—characterized by dark humor, voiceover narration, and dynamic nonlinear editing—has been replicated by filmmakers for over fifty years. Among the recent contenders in this genre, Barry Levinson’s The Alto Knights features Scorsese’s frequent collaborator, Robert De Niro, portraying dual roles. This film is a testament to Scorsese’s enduring legacy, closely mimicking the trademark feel of his classic works. Several other films, such as Boogie Nights and American Made, have also drawn inspiration from Scorsese’s distinct style.
10 Donnie Brasco

Traditionally, mafia films like The Godfather focused on powerful figures at the top of organized crime hierarchies. However, following the release of Goodfellas, a new genre of street-level gangster films emerged, highlighting the lives of mid-tier mobsters. One notable example is Mike Newell’s Donnie Brasco, which serves as a character-driven examination of the criminal underworld while incorporating the violence typical of gangster films.
9 American Hustle

In the film American Hustle, director David O. Russell explores crime through the lens of the infamous Abscam operation of the late 1970s and early 1980s. The storyline follows fraudsters played by Christian Bale and Amy Adams as they team up with an FBI agent, portrayed by Bradley Cooper, to ensnare corrupt politicians. The film encapsulates many elements characteristic of Scorsese’s work, including intricate crime narratives, a darkly comedic touch, moral ambiguity, a nostalgic rock soundtrack, and even features a cameo by De Niro.
8 Joker

Todd Phillips’ Joker, a cinematic tour de force that achieved rousing box office success, melds themes reminiscent of both Taxi Driver and The King of Comedy. This gritty exploration of an urban vigilante echoes the societal critiques found in Scorsese’s films. While its thematic depth may not reach the profound levels of Scorsese’s works, the film’s cinematography by Lawrence Sher and Joaquin Phoenix’s transformative performance vividly portray the spiraling descent into madness that defines the Joker’s story.
7 Lord Of War

Lord of War, directed by Andrew Niccol, presents a narrative akin to Goodfellas, shifting the focus from drug trafficking to the arms trade. The film captures a similar frantic energy and macabre humor present in Scorsese’s work, chronicling the rise of a weapon trafficker during the collapse of the Soviet Union. With a powerful opening sequence, it delves deep into a different illegal trade while employing Scorsese-inspired stylistic techniques.
6 The Alto Knights

The Alto Knights showcases several hallmarks associated with Scorsese’s gangster films: innovative freeze frames, voice-over narration, and the use of nonlinear storytelling. With De Niro starring in dual roles, the film unravels a compelling true-crime narrative from New York City. While it may lack the philosophical depth Scorsese’s films often convey, it remains an entertaining, aesthetically pleasing, and darkly humorous homage to the genre.
5 American Made

Doug Liman’s American Made presents a high-octane twist on the biographical crime drama, following Tom Cruise’s portrayal of Barry Seal, who juggles roles as a drug smuggler for the Medellín Cartel and an informant for the DEA. Mirroring the duality explored in Goodfellas, the film engages viewers with a compelling depiction of the moral complexities inherent in criminal enterprises, all while delivering thrilling entertainment.
4 I, Tonya

In I, Tonya, Craig Gillespie approaches the story of Tonya Harding’s involvement in Nancy Kerrigan’s assault with a narrative structure reminiscent of Scorsese’s gangster films. Employing rapid editing and dark humor, this film features Harding as an unreliable narrator, lending it a unique perspective. Instead of falling into the trap of a conventional true crime drama, Gillespie’s distinct direction, along with Margot Robbie’s compelling performance, breathes vibrant life into this saga.
3 City Of God

While Scorsese brings to life the gritty criminal landscape of New York in Mean Streets, filmmakers Fernando Meirelles and Kátia Lund do the same for Rio de Janeiro in City of God. By focusing on real human characters rather than stereotypes, they construct a vivid portrayal of organized crime within the Cidade de Deus suburb. Infused with rapid pacing and energetic editing reminiscent of Scorsese’s techniques, the film encapsulates a sprawling crime narrative across multiple decades.
2 A Bronx Tale

Robert De Niro’s directorial debut, A Bronx Tale, draws heavily from his synergy with Scorsese. Based on Chazz Palminteri’s autobiographical play, this coming-of-age story centers on an Italian-American youth torn between his hardworking father and a charismatic mob boss. Capturing the essence of mafia culture and the vibrant atmosphere of New York, the film presents organized crime’s complexities with a personal narrative that resonates deeply.
1 Boogie Nights

Paul Thomas Anderson’s Boogie Nights marks a significant evolution from his low-budget debut, presenting an ambitious three-hour saga set in the 1970s adult film industry. Anderson’s direction channels the essence of Scorsese, featuring rhythmic pacing, dynamic camera movements, an eclectic soundtrack, and a fragmented editing style akin to Goodfellas and Casino. The narrative arc of Dirk Diggler’s rise and fall parallels the story of Jake LaMotta in Raging Bull, culminating in a poignant homage to Scorsese’s impact on film.