at nearly all of her concerts. Charts Reception Box office Made after Scorsese's successful Taxi Driver, the film was a box-office failure. Its budget was $14 million, a large figure at the time, and it grossed only $16.4 million at the box office. The disappointing reception drove Scorsese into depression and drugs. In Peter Biskind's book Easy Riders, Raging Bulls it is reported that Scorsese's addiction to cocaine and complete lack of control over the improvisation of dialogue on the set were major factors that contributed to the failure of the film. United Artists ultimately recouped its loss on the film as a result of an agreement wherein they would share the profits with Rocky, which the executives had expected to be a flop. In his introduction to the film's DVD, released in 2005, Scorsese explains that he intended the film as a break from the gritty realism for which he had become famous, and sees it as an homage to the musical films of Classical Hollywood. For this reason, he designed the film's sets and storyline to be deliberately artificial-looking. He acknowledges that it is an experiment that did not please everyone. Critical response On Rotten Tomatoes the film has an approval rating of 57% based on 46 reviews. The critical consensus reads, "Martin Scorsese's technical virtuosity and Liza Minnelli's magnetic presence are on full display in New York, New York, although this ambitious musical's blend of swooning style and hard-bitten realism makes for a queasy mixture." Time reviewer Christopher Porterfield stated that "If this movie were a big-band arrangement, it would be a duet for a sax man and a girl singer, but with the soloists in a different key from the band." Critic Dave Kehr from the Chicago Reader wrote that "Scorsese created a very handsome and dynamic film, but the spectacular set pieces don't add up to much." Variety'''s uncredited reviewer stated that in "a final burst from Old Hollywood, Minnelli tears into the title song and it's a wowser." Reviewer Geoff Andrew from Time Out states that "Scorsese's tribute/parody/critique of the MGM musical is a razor-sharp dissection of the conventions of both meeting-cute romances and rags-to-riches biopics." Reviewer Vincent Canby from The New York Times questioned, "Why should a man of Mr. Scorsese's talent be giving us what amounts to no more than a film buff's essay on a pop-film form that was never, at