Category Archives: Crime Drama

Killers of the Flower Moon-2023

Killers of the Flower Moon-2023

Director Martin Scorsese

Starring Leonardo DiCaprio, Robert De Niro, Lily Gladstone

Scott’s Review #1,406

Reviewed October 22, 2023

Grade: A

One great thing about legendary director Martin Scorsese, and there are plenty I could mention, is that he continues to challenge his audience with his films well into his eighties.

Any aspiring filmmaker, or any cinephile, should study his films.

Before I knew too much about his new picture, Killers of the Flower Moon (2023) I knew I wanted to see it because I trust Scorsese as a director.

His most recent films, The Wolf of Wall Street (2013) and The Irishman (2019) are not easy watches but the payoff is tremendous.

Scorsese is not the kind of filmmaker to create feel-good fluff but leaves the audience pondering what they’ve seen long after leaving the theater.

Leonardo DiCaprio and Robert De Niro, two frequent Scorsese collaborators and great actors appear in Killers of the Flower Moon assuring something of quality.

Be forewarned that at an enormous running time of three hours and twenty-six minutes, the film is long! Like a fine wine, it took me about an hour or so to immerse myself in the texture and storytelling but this only defends the richness of the experience.

Based on David Grann’s broadly lauded best-selling book, “Killers of the Flower Moon” is set in 1920s Oklahoma and depicts the serial murder of members of the oil-wealthy Osage Nation, a string of brutal crimes that came to be known as the Reign of Terror.

In 1918, Ernest Burkhart (DiCaprio) returns from World War I to his uncle, rancher William “King” Hale (De Niro), who lives with Ernest’s brother Byron (Scott Sheperd) on the reservation. Hale pretends to be a friendly supporter of the Osage people, but he secretly schemes to murder them and steal their wealth.

Lily Gladstone who has starred mainly in independent films makes her breakthrough performance as Mollie Burkhart, a wealthy Native American woman who is the love interest of Ernest.

The cast is unwieldy and features stalwarts like Brendan Fraser and John Lithgow in small roles but the notable mentions are DiCaprio, De Niro, and Gladstone.

Each scene between the three crackles with phenomenal acting and attention to their craft. Gladstone quietly yet expressively emotes her character’s feelings and emotions. Mollie is a proud woman but not gullible as she presents a strong feminist quality.

Her scenes with DiCaprio resonate the most. His character of Ernest is complicated and possesses good and bad qualities. As Mollie professes early on he is handsome but not too smart.

Her statement comes further into play at the end of the film.

Amid the schemes and murders Killers of the Flower Moon embraces a sweet romantic story between Ernest and Mollie. They love each other and he adores her and their children but is it ultimately enough?

Any aspiring actors should hone in on scenes between DiCaprio and De Niro for inspiration. Each scene and line within the scene is delivered with naturalness. Carefully yet authentically executed their conversations are mesmerizing.

De Niro reportedly and unsurprisingly modeled his character after the callous and dastardly reality star turned-politician Donald Trump.  Pretending to be well-intentioned but instead bullying and scheming his way to fortune by bamboozling the weak, De Niro channels his inner asshole with precision.

I immediately recognized what the actor was going for concerning the hateful politician.

In what only enhances the film, Scorsese appears at the beginning and end with impassioned moments about the importance of telling this story.

Filmed in Oklahoma, many sequences of open land, fields, streams, and other natural elements appear. Scorsese often uses the same film crews which enhances the authenticity.

The cinematography is filled with early 1900s facets and real Native American people are featured. The colors and tribal outfits offer culture and a glimpse into their way of life.

Killers of the Flower Moon (2023) is an important film because it teaches and reminds the audience that oppression and tragedy have existed in the United States and still do today.

The telling of one group of people is sound and a stark reminder of how many more stories exist each needing the help of a great filmmaker to bring exposure.

Scorsese does it again.

Oscar Nominations: Best Picture, Best Director-Martin Scorsese, Best Actress-Lily Gladstone, Best Supporting Actor-Robert De Niro, Best Film Editing, Best Cinematography, Best Costume Design, Best Production Design, Best Original Score, Best Original Song-“Wahzhazhe (A Song For My People)

Gangs of New York-2002

Gangs of New York-2002

Director Martin Scorsese

Starring Leonardo Dicaprio, Daniel Day-Lewis, Cameron Diaz

Scott’s Review #1,327

Reviewed December 26, 2022

Grade: A-

Gangs of New York (2002) is an extremely violent and bloody epic by director Martin Scorsese that is an exquisite piece of filmmaking nearly flawless in every way except maybe its length and story.

On the one hand, it’s a beautifully choreographed and filmed crime drama with perfect costumes, art direction, and cinematography. Still, on the other, it’s tedious and lengthy, especially during the final hour, with choppy storytelling and seemingly one long continuous battle.

Scorsese being Scorsese and knowing his way around crafting an excellent film or two left me ruminating over the cinema and pondering whether I’d ever need to see it again.

Usually, I’m all in when it comes to repeated viewings of his films,  especially Raging Bull (1980) or Goodfellas (1990) but with Gangs of New York, the sobering almost three hours running time and the non-stop bloodshed gives me pause.

It’s not a mafia film but it is an Irish-centered crime drama harkening back to the mid-1800s so there are historical lessons to be exposed to. Familiar with most of his films there are good guys, bad guys, and a criminal, feuding overtone, and lots of grit and grime to plow through.

I can’t say it’s one of Scorsese’s top 10 but it’s a grandiose, epic-length behemoth that features a host of top-name talent but there are nonetheless aspects that leave it slightly beneath his most famous works.

But that’s nearly akin to comparing the works of Beethoven, Rembrandt, or other geniuses of one art form or another. Anyone respecting Scorsese or appreciating good cinema should see Gangs of New York.

Amsterdam Vallon (Leonardo DiCaprio) is a young Irish immigrant released from prison. He returns to the Five Points seeking revenge against his father’s killer, William Cutting (Daniel Day-Lewis) also known as ‘The Butcher’, a brutal and powerful anti-immigrant gang leader.

He knows that revenge can only be attained by infiltrating Cutting’s inner circle. Amsterdam’s journey became a fight for personal survival and to find a place for the Irish people in 1860’s New York.

The most delicious part of the film is the rivalry between Amsterdam and ‘The Butcher’. DiCaprio and Day-Lewis make powerful sparring partners and as much as Amsterdam’s motivations are admirable it’s Day-Lewis who has the more interesting character.

To no one’s surprise, the actor channels his inner dictator as he method acts throughout the film. To no one’s additional surprise, he steals the show away from other tremendous actors like DiCaprio, Jim Broadbent, and John C. Reilly in supporting roles.

However, I need to ask why Day-Lewis was selected for the Lead Actor Oscar category when he is a supporting one.

Worthy of mention is Cameron Diaz who, for once, plays the dramatic role of a pickpocket. Typically cast in comedic roles she shows she has acting chops.

The story gets a bit wayward about halfway through and I stopped giving the story much credence about three-quarters of the way through. It’s as if Scorsese had frenetic schizophrenia moments with tons of good ideas but none of them formulating a cohesive plot.

The New York City setting is a favorite of mine especially pre-civil war and well before the NYC of modern times even existed. The prevalence of Canal Street and various others make this northeasterner heavily invested in geography.

Finally, to bring it all full circle, Gangs of New York powerfully reminds the audience of the age-old topic of immigration and how those who have citizenship too often oppose those who desire to enter a country they once also did.

‘The Butcher’s’ brutal opposition is a sad reminder of how the United States of America was never united and the senseless violence towards immigrants is never-ending.

Gangs of New York (2002) may not be Scorsese’s best work but even on his worst day, he creates a film worth watching. Mixing toxic masculinity, and revenge with a crazy story he succeeds where other directors might fail by providing compelling filmmaking with all the fixings.

Just don’t get too hung up on the story points.

Oscar Nominations: Best Picture, Best Director-Martin Scorsese, Best Actor-Daniel Day-Lewis, Best Original Screenplay, Best Art Direction, Best Cinematography, Best Costume Design, Best Film Editing, Best Original Song-“The Hands That Built America”, Best Sound

The Many Saints of Newark-2021

The Many Saints of Newark-2021

Director-Alan Taylor

Starring Michael Gandolfini, Alessandro Nivola, Vera Farmiga

Scott’s Review #1,272

Reviewed July 4, 2022

Grade: B

Fans of the iconic HBO series The Sopranos which ran from 1999 to 2007 have been chomping at the bit since the announcement of the soon-to-be-released The Many Saints of Newark (2021).

The film is a prequel to the series centering on a young Tony Soprano. The kicker is that the actor who portrays Tony in the movie (Michael Gandolfini) is the real-life son of James Gandolfini who played Tony in the series.

To add mustard to the on-paper perfect setup is that the film is written by David Chase, the writer, and creator of The Sopranos. This ensures rich character development and dedication to the rich history.

What could go wrong?

The answer is that nothing is ‘wrong’ with The Many Saints of Newark. It’s just not brilliant like the series was and rather unnecessary to have been made in the first place, especially after such a long gap.

While the film meanders at times this gave me time to thoughtfully ruminate that perhaps The Many Saints of Newark would have been better as a limited series.

There are so many characters and too few of them are familiar to audiences of The Sopranos. The two-hour and change running time couldn’t possibly provide enough time to get to know many of them and I longed to.

On the upside, the film is shot quite well and the costumes, sets, and design of the 1960s and 1970s are remarkably beautiful with superior accuracy.

It succeeds in transplanting the audience to what Newark, New Jersey was like during that time. Additionally, the film looks quite a bit like The Sopranos and is influenced by the legendary 1991 offering Goodfellas and other mafia-laden films.

Young Anthony Soprano (Gandolfini) is growing up in one of the most tumultuous eras in Newark’s history, as rival gangsters begin to challenge and desecrate the powerful DiMeo crime family.

As the year 1967 emerges and Newark is now an increasingly race-torn city events take on a violent and historical time.

Conflicted by the changing times is Tony’s Uncle Dickie (Alessandro Nivola) whom he idolizes much more than his own father Johnny (Jon Bernthal) or domineering mother Livia (Vera Farmiga).

The Many Saints of Newark depicts how Tony will eventually become whom the audience knows as mob figure Tony Soprano!

Besides looking like his father, Gandolfini is not the best actor in the world but he does his best with a small role billed as the lead. He hardly appears until thirty minutes before the film concludes and he never carries the film like one would expect the character to.

The real star of the film is Dickie (Nivola) who is terrific. The storyline follows his conflict and a damaged relationship with his father, wonderfully played by Ray Liotta, and his father’s horny wife Giuseppina, who later becomes his mistress.

A shocking scene occurs when Dickie beats a major character to death by repeatedly slamming their head against a steering wheel. The death will hold forever repercussions for Dickie, emotionally and otherwise.

The problem is that even though Dickie is a great character the audience doesn’t know him and this is a problem.

Despite flaws with the marginally adequate casting, the uneven writing, and the focus on unfamiliar characters, there are other small treats to enjoy.

The film is peppered with familiar characters like Paulie, Big Pussy, and Carmella as younger people. Even though they don’t have much to do with the story their mere presence feels like an old home week.

The racial tensions are another win and actor Leslie Odon Jr. adds a winning formula to his character of Harold McBrayer, a black associate of Dickie’s.

I haven’t watched an episode of The Sopranos since it ended in 2007 and it may be advantageous to watch The Many Saints of Newark immediately after. Situations, history, and characters will be fresher in one’s mind and it may result in more cohesiveness.

Or maybe the film shouldn’t have been made fourteen years after the series ended.

Regardless, The Many Saints of Newark (2021) is a pretty solid effort but completely underwhelming especially when compared with such a groundbreaking television series.

Carlito’s Way-1993

Carlito’s Way-1993

Director Brian De Palma

Starring Al Pacino, Sean Penn, Penelope Ann Miller

Scott’s Review #1,224

Reviewed January 29, 2022

Grade: B

Brian De Palma would be firmly planted in my Top 10 favorite directors of all time- maybe even the Top 5. His daring and juicy Dressed to Kill (1980), and horrific Carrie (1976) are still visually mesmerizing to me.

Carlito’s Way (1993) takes De Palma into New York mobster territory similar in vein to his 1983 disappointment Scarface (1983). Both star Al Pacino.

The latter is set in Miami while the former offers many reminders of its New York City setting like street signs and other exterior trimmings of the Big Apple, especially in Spanish Harlem.

Sequences also occur on Long Island, New York, and Rikers Island.

The film is based on two novels written in the 1970s when the events in the film are supposed to be set. This doesn’t work as well as you might think but more about that later.

Carlito’s Way itself is a solid mobster film that borrows from many others including Scarface, The Godfather (1972), and Goodfellas (1990). If I were to take ten mobster films it might get lost somewhere in the middle.

But it’s still an above-average watch and sprinkles pleasant De Palma familiarities like slow-motion dreamlike sequences and a terrific chase through the subway and Grand Central Station that will bring a smile to Dressed to Kill fans.

It’s just not one of the best Brian De Palma films nor one of the best mobster films.

Released on a technicality after years in prison, Carlito Brigante (Pacino) swears to give up his criminal ways, but it’s not long before the ex-con is sucked back into the New York City underworld thanks to his shady lawyer and friend Dave Kleinfeld (Sean Penn).

All he wants to do is save enough money to leave town and retire in paradise.

Carlito reconnects with his aspiring actress/dancer girlfriend, Gail (Penelope Ann Miller) while young and dangerous gangster Benny Blanco (John Leguizamo) plots revenge on Carlito and Kleinfeld after being slighted.

Kleinfeld has also stolen money from a dangerous convict so that’s an added stressor for both him and Carlito.

The time is very odd. It’s supposed to be the 1970s as the musical score suggests as disco party music blasts during club scenes. The clothes and hairstyles somewhat align but there is a strange 1980s feel which is even stranger given the film was shot in the 1990s.

The chemistry between Pacino and Miller is okay but nothing terrific either although it grows during the film. At first, I wondered what they saw in one another but was slowly won over by the pair. By the end, I was rooting for them to ride off into paradise together.

The best part of Carlito’s Way is the final thirty minutes or so. On the run from the bad guys, Carlito and Gail decide to meet on a late-night train bound for Florida. There, they will forget their troubles and live happily ever after on the beach.

Oh, and by the way, Gail is now pregnant.

De Palma, as he usually does, creates a dazzling climax. I was mesmerized by the cat-and-mouse chase scenes and what Grand Central looked like in the early 1990s when the film was shot. And there’s also the terrific running from subway car to subway car chase scene just like in Dressed to Kill.

As an aside, Pacino who is Italian is playing a Puerto Rican character. One character comments that Carlito could almost pass for an Italian. Given Pacino’s heritage in the very Italian Godfather films, this is an anecdote that made me chuckle.

Penn and Pacino give it their all and craft unusual characters, especially Penn, and it’s a delight seeing great actors play off of one another.

Carlito’s Way (1993) has some hits and some misses and borrows heavily from similar films including De Palma’s films. This too often makes it become a comparison film rather than containing its own identity.

L.A. Confidential-1997

L.A. Confidential-1997

Director Curtis Hanson

Starring Kevin Spacey, Russell Crowe, Kim Basinger

Scott’s Review #1,102

Reviewed January 19, 2021

Grade: A

An enormous critical and commercial hit of 1997, L.A. Confidential spins a tale of intrigue and mystery during the 1950s with plenty of big-name stars to go around.

The film can be classified as a throwback, neo-noir escapade, but it’s quite stylistic and fleshed out. It’s well-made with slick elements and Hollywood looks and feels like the lavish production design and musical score, but it’s the seduction and bevy of secrets that will keep viewers glued to their seats, trying to guess what happens next.

As if it doesn’t have enough great elements a powerful whodunit is constructed leading viewers to question if the bad guys are good or the good guys bad.

Stalwarts like Kevin Spacey, Kim Basinger, and Danny DeVito bring star power, while unknowns at the time, Russell Crowe and Guy Pearce are the real reasons to tune in.

L.A. Confidential has a seemingly endless tangled web to absorb and unravel, but the film is paced well and never overcomplicates itself. The strong art direction and musical score make it a delight to the eyes and ears.

The film is fraught with a saucerful of secrets just waiting to be brought to the surface.

Based on the James Ellroy 1990 novel of the same name, it’s the third book in his L.A. Quartet series, the others being The Black Dahlia (1987) and The Big Nowhere (1988). All focus on the Los Angeles Police Department, corruption, and scandal. The former was turned into an unsuccessful film in 2006 starring Josh Hartnett and Scarlett Johansson.

I love films set in the City of Angels with a focus on Hollywood darkness lurking beneath the sunny and swanky exterior. Especially effective is the 1950s time, post World War II, when everything seemed to be coming up roses.

Naturally, murder is the offering of the day.

To summarize, three policemen, each with his motives and obsessions, tackle the corruption surrounding an unsolved murder at a downtown Los Angeles coffee shop in the early 1950s.

Detective Lieutenant Exley (Pearce), the son of a murdered detective, is out to avenge his father’s killing. The ex-partner of Officer White (Crowe), implicated in a scandal uncovered by Exley, was one of the victims.

Sergeant Vincennes (Spacey) feeds classified information to a tabloid magnate (DeVito). Basinger portrays Lynn Bracken, as a glamorous prostitute.

It’s nice watching the film with the knowledge of the big stars Crowe and Pearce would become. Also interesting is to see Spacey when he was a big star, eventually destined to turn into Hollywood mud due to a scandal.

That’s the beauty of watching a classic film and adds a realistic element unknown at the time of the first release.

From a romantic angle, it’s fun and juicy to wonder who Lynn, a Veronica Lake lookalike, will wind up with. Basinger has chemistry with all of the handsome cops and one wonders who she will screw and screw over.

The role is the best of Basinger’s career.

L.A. Confidential is a film that can be viewed multiple times to notice intricacies missed during the first go-around. It harkens back to the 1940s in style, pizazz, and texture. There is something for everyone and it develops well beyond the film noir genre.

It contains great acting, exceptional writing with twisting storylines and events, bloodshed, and thrills. It is an exceptional crime drama almost on par with one of the greats, Chinatown (1974).

The 1990s was an excellent decade for well-made films and L.A. Confidential (1997) is near the top of the pile.

Oscar Nominations: 2 wins-Best Picture, Best Director-Curtis Hanson, Best Supporting Actress-Kim Basinger (won), Best Screenplay Based on Material Previously Produced or Published (won), Best Original Dramatic Score, Best Sound, Best Art Direction, Best Cinematography, Best Film Editing

Thieves Like Us-1974

Thieves Like Us-1974

Director Robert Altman

Starring Keith Carradine, Shelley Duvall

Scott’s Review #1,071

Reviewed October 16, 2020

Grade: A

The first time I saw Thieves Like Us (1974) I was not blown away. I have forgotten what my original gripe was, but my lackluster star rating on Netflix years ago is confirmation of such.

All is now forgiven and like a fine wine, this film gets better and better with each viewing.

It’s a gangster film, but a heart-wrenching story containing one of the sweetest romances in cinema history.

Based on the novel of the same name by Edward Anderson, director Robert Altman, famous for allowing his actors to ad-lib their lines to their heart’s content and peppering his films with overlapping, “real-life” dialogue, limits this technique this time around.

His stars, Keith Carradine and Shelley Duvall, regular fixtures in his films, are the main attraction, but supporting players like Louise Fletcher, Bert Remsen, and John Schuck give tremendous performances.

Set in the 1930s United States, Deep South Mississippi, the time-period and location are key elements to the success of the film.

Having never set foot in this geographical area, I nonetheless found myself escaping there and ruminating about what it would have been like to live there in the Great Depression era.

The many outdoor sequences with trees, forests, country roads, and home-cooked meals provide a luminous atmosphere and texture.

Small-town living never felt so good and cozy.

Wisely, Altman steers clear of any racial overtones or dialogue within the film. The film is not about that.

There appear many black characters mostly in the background, townspeople scenes, or as prisoners which add flavor. But they are represented as living among other folks without any aggression or stereotypes. They simply are and it feels like the South.

Altman crafts an experience of understated, good storytelling, proving a quality film can be quiet and proud, not needing explosive bells and whistles to prove showy. The dialogue crackles on its own and is smart.

The plot is compelling. Bowie (Carradine) is an escaped convict who embarks on a crime spree with fellow former prisoners Chicamaw (John Schuck) and T-Dub (Bert Remsen). While in hiding between bank robberies, Bowie meets a young woman named Keechie (Duvall), and the two quickly fall in love.

A life of crime doesn’t sit well with Keechie, however, so she and Bowie try to settle down, but the law is determined to bring him to justice.

The fun is in watching romance blossom between Bowie and Keechie. Despite Bowie being a criminal, his character contains sweetness and purity that match like a glove with the whimsical truth and simplicity of Keechie.

Throughout the length of the film, I compared the characters to the legendary icons, Bonnie and Clyde, from the self-titled cinema masterpiece.

They are similar but different. The pair sit quietly on the front porch talking about life and the future, optimistically planning their lives together unaware of what fate has in store for them. Their innocence and their goofy humor made me fall in love with them.

The relationship between the three men is apt. They have each other’s backs and are loyal to a fault. The men are convicts and cause death and injury, but there is a humanity that Altman gives to each character.

We do not think of them as derelicts.

When Bowie poses as a sheriff to break Chickamaw from prison, we root for the escape and not for the warden. Bowie kills the warden, shocking Chickamaw. Even with dispute comes caring between the men.

It does take patience to get into this film, probably I did not give the film its due on my first watch. Once the film ended I was left with a feeling of having experienced something of value and an artistic cinematic visionary story.

The homespun characters eating a feast of meat and southern biscuits and discussing the day’s events are rich and atmospheric.

Carradine and Duvall would reunite a year later in another Altman masterpiece, Nashville (1975) playing vastly different characters, both unlikable, so a recommendation is to watch both films back to back to appreciate the dizzying morphed characterization.

Thieves Like Us (1974) is no mere opening act for Nashville but of a different ilk.

The film is a treasure.

Agatha Christie’s Evil Under the Sun-1982

Agatha Christie’s Evil Under the Sun-1982

Director Guy Hamilton

Starring Peter Ustinov, Diana Rigg, Maggie Smith

Scott’s Review #1,065

Reviewed September 29, 2020

Grade: B+

Following the success of Murder on the Orient Express (1974) and Death on the Nile (1978), Agatha Christie’s Evil Under the Sun (1982) is of a similar formula and is an entertaining yarn.

The experience is like savoring a favorite meal- we know what we will get, and we dive in with pleasure.

Director Guy Hamilton, famous for directing four James Bond films, takes the director’s chair and keeps the action moving quickly crafting an enjoyable effort with a bit more humor than Christie’s novel in which it is based. Nearly on par with the two films save more predictability, this one nonetheless is a fine and joyous offering.

The setup remains the same, only the setting changed, as the affluent characters flock to a swanky resort area for fun and frolicking amid the Adriatic island with a saucer full of secrets and enough intrigue to last a lifetime.

Peter Ustinov returns as Detective Poirot in a very good effort. The man sleuths his way to a final revelation common in these films as the whodunit culminates in unmasking the murderer or murderers and bringing them to justice.

Spoiler alert- there are two killers. The juicy reveal takes place as all suspects are gathered and nervously fret possible accusations.

I found it easy to figure out the culprits since they are written as the most secretive, but it’s fun watching the unraveling and the explanation of their motivations. Also enjoyable is how each character has a specific ax to grind with the victim.

Agatha Christie’s Evil Under the Sun is a solid, classic, whodunit done very well, and the characters are rather well-written and the acting stellar.

The action starts mysteriously in the North York Moors when a hiker finds a strangled, female victim. Quickly, Hercule Poirot is asked to examine a diamond belonging to rich industrialist, Sir Horace Blatt (Colin Blakely).

The diamond is deemed a fake, and Blatt’s mistress, famous actress Arlena Stuart Marshall (Diana Rigg) has suspicion cast upon her. Events then switch to the resort island as we are left to ponder what the dead woman at the beginning has to do with anything. In good time the audience finds out and this is ultimately satisfying.

As usual, a large principal cast is introduced along with well-known stars.

Daphne Castle (Maggie Smith) owns the lavish hotel and caters to Arlena’s put-upon husband, Kenneth (Denis Quilley), and stepdaughter, Linda (Emily Hone), while Arlena openly flirts with the yummy Patrick (Nicholas Clay), who has fun prancing and preening wearing next to nothing.

Other characters are the husband and wife producers Odell and Myra Gardener (James Mason and Sylvia Miles), gay writer Rex Brewster (Roddy McDowell), and Patrick’s ailing wife, Christine (Jane Birkin).

Each has an issue with Arlena, who is the intended murder victim.

Like Murder on the Orient Express and Death on the Nile, the setting is the character itself. Though not a train or a boat, the sunny and sandy island is the perfect locale. The water, a noon cannon, suntan lotion, and a watch are the items most important in the whodunit but wait there’s more!

A tennis match, the cliffs, and a by-the-minute timeline are of utmost importance to figure out the mystery. The point of a film like this, as with the treasured Agatha Christie books, is deducing the why’s and how’s of the murder.

Delicious are the scenes featuring Daphne and Arlena going toe-to-toe and there are just not enough of them. Bitch versus bitch, as they trade barbs and snickering insults with glee, Smith and Rigg enjoy their roles, and the audience is treated as such.

Rigg is great as the bad girl, relishing in offending nearly everyone she encounters, and Smith speaks volumes with her eyes.

As for the male characters, Nicholas Clay gets my vote for the sexiest man of the year. With his lean, toned, bronzed chest and white shorts which he confidently pulls up to reveal his bare butt cheeks as he struts near the pool, he can have any girl he wants (and possibly guys) and adds layers to the film.

The biggest riddle is what he has in common with his wife, Christine, who is saddled with health issues, and simply not fun.

Staying largely true to the novel, Agatha Christie’s Evil Under the Sun (1982) will satisfy its intended audience.

A herculean author penning characters like Hercule Poirot and Miss Marple, everyman, and everywoman sleuths, this film was the last to be a big-screen affair. Made for television movies would soon follow.

A lavish landscape, bitchy characters, scheming characters, murder, and mayhem, are the recipe of the day for a good time.

The Irishman-2019

The Irishman-2019

Director- Martin Scorsese

Starring-Robert De Niro, Al Pacino, Joe Pesci

Scott’s Review #960

Reviewed November 20, 2019

Grade: A

Any film created by legendary director, Martin Scorsese is sure to impress legions of adoring followers and most critics. Every project he touches on results in something fantastic, and easy to revel in good analysis and discussion about the movie moments after the closing credits have rolled.

The Irishman (2019) is a film that requires repeated viewings and thought to obtain the full flavor and relish in the savory and vast cast of characters.

The picture may not be on the same level as Goodfellas (1990) or The Godfather (1972), which it seems patterned after, but the work is highly impressive and should stand the test of time resulting in a fine wine analogy.

The years will likely be kind to the film and enrich the experience- it’s that kind of film. With stars like Robert De Niro, Al Pacino, Joe Pesci, and Harvey Keitel on board, the viewer expects a plethora of riches and that is exactly what is delivered.

The film spans the period of the 1950s through the 1970s and follows the life of Frank Sheeran (De Niro), a truck driver who becomes a hitman and gets involved with mobster Russell Bufalino (Pesci) and his crime family, including his time working for the powerful Teamster Jimmy Hoffa (Pacino). Sheeran is dubbed “the Irishman”.

He narrates much of the story, now quite elderly and residing in a nursing home, of his time in the mafia and the mystery surrounding the death of Hoffa.

The only negatives to the film are the suspension of disbelief that De Niro is Irish- was there ever a more Italian New Yorker? But, alas, this film is Scorsese directed and De Niro produced, so they could tell me the sky is green and I would readily nod in agreement.

At three hours and twenty-nine minutes, the film is a long haul and towards the middle, the film meanders a bit. Perhaps twenty or thirty minutes could have been sliced to the cutting room floor.

The rest of the experience The Irishman serves up is brilliance, with rich characters and a wonderful atmosphere. Have I mentioned that Scorsese directed this film? The cast of characters is endless and drizzles with zest speaking volumes for what The Godfather did with casting.

Many recognizable actors appear in small roles like Ray Romano as attorney Bill Bufalino, Bobby Cannavale as “Skinny Razor”, and Anna Paquin as Frank’s estranged daughter, Peggy. An endless supply of character actors fleshes out the remaining cast.

Wonderful is the plethora of food references that would impress notable food director, Alfred Hitchcock, known for incorporating meals into many of his scenes. The delectable early scenes when Frank delivers meat to grocers and gets in with a gangster over a discussion about a good steak will leave viewers mouth-watering for a tender sirloin.

The conversations between characters are interesting, slowly building and adding robust grit to a packed film. They have good, careful dialogue exchanges and talk matter-of-factly about life and experiences.

Characters are given a chance to develop and grow and even small characters like a nurse or a wife add a good, comforting aura. It is evident what treasured films look like when a director can simply create and develop without outside interference.

The standouts in the acting department are Pacino and De Niro, the former crossing my fingers will receive an Oscar nomination.

The pairing is flawless and eagle-eyed fans will recall that both actors appeared together in The Godfather Part II (1974) yet never shared a scene.

In The Irishman, they appear together in pivotal scenes. Pacino infuses Hoffa with humor and poise as only Pacino can do with a character. He is my favorite character and is tough to look away from.

Both actors, along with Pesci, are treated to a recent marvel in cinema- that of the de-aging process. Each actor, well into his seventy’s, is transformed to mid-forties in many scenes and then aged to appear elderly later in life.

While each has a strange unnatural look to him as a younger man, the process is impressive and an innovative technique that assuredly will become more common in film, and subsequently offer limitless possibilities.

The Irishman (2019) is a cinematic gem by a storied director advancing in years, but still offering grandiose films. With stalwarts like De Niro, Pesci, and Pacino, the players are well cast, and nuanced touches add dimensions to the finished product.

Offering a gangster film with grace and style, the story is poignant and crisp and a thoughtful approach to one of the legendary mysteries- what happened to Jimmy Hoffa?

Oscar Nominations: Best Picture, Best Director-Martin Scorsese, Best Supporting Actor-Al Pacino, Joe Pesci, Best Adapted Screenplay, Best Production Design, Best Cinematography, Best Costume Design, Best Film Editing, Best Visual Effects

Hustlers-2019

Hustlers-2019

Director-Lorene Scafaria

Starring-Constance Wu, Jennifer Lopez

Scott’s Review #942

Reviewed October 3, 2019

Grade: B+

Hustlers (2019) is a film that I had no intention of seeing. It was not on my radar and I did not know much about the film except that it was promoted as a story about a group of strippers who bamboozle Wall Street men.

Yawn!

The experience was better than experienced- much better thanks to the critically lauded performance by Jennifer Lopez. She astounds in a role perfectly written for her as the true story champions female empowerment, and why shouldn’t it?

The result is a feminist film with humor.

Constance Wu, famous for putting Asian actors on the map with Crazy Rich Asians (2018), does a complete one-eighty as the lead character in Hustlers.

Unrecognizable, she plays a New York City stripper named Destiny, who works at a trendy Wall Street club named Moves, in 2007. She supports her grandmother and barely gets by on meager tips, possessing the looks but not quite the style.

When she witnesses fellow dancer Ramona Vega (Lopez) perform a simmering routine, the women bond and become fast friends.

Destiny enjoys newfound wealth and a close friendship with Ramona. A year later, the financial crisis strikes, and both women find themselves struggling for cash having squandered their fortunes. Destiny becomes pregnant.

Her boyfriend leaves her shortly after their daughter’s birth, and she is unable to find a new job. Destiny and Ramona, along with other girls, hatch a plot to manipulate the businessmen they have grown to know, out of desperation.

The story is based on true events.

Had the elements not wholly come together in this film the result would have been dreary or at best mediocre. A current trend in modern cinema is to have a group of female characters team up in some form of heist or crime-fighting adventure- think Ocean’s Eight (2018), the Ghostbusters (2016) remake, or Widows (2018).

Some results are better than others but hardly memorable as the girl-buddy genre hardly has any depth.

Two important factors stand out to me as rising Hustlers way above a mediocre or standard fare film experience. Jennifer Lopez deserves all the praise she has been showered with for her role of Ramona.

From the moment Lopez, who is listed as Executive Producer, appears on screen, she is electrifying and impossible not to be mesmerized by.

As she shakes her booty (and many other parts of her anatomy) and writhes on stage to Fiona Apple’s “Criminal” the men in the club throw money at her.

The scene oozes sexuality and from this moment on Lopez owns the film.

Lopez, besides Selena (1997), has largely chosen mainstream and fluff material like The Wedding Planner (2001) and Maid in Manhattan (2002) over the years.

She may not be the Meryl Streep of her time, but it is always nice when an actor charter challenging and dangerous waters. May she continue to choose wisely. She powers through Hustlers with gusto and is the central draw.

Not to limit Hustlers to a conventional woman using sex appeal to lure men, the film is certain to get its message across to viewers in a more sobering way.

By 2008 the United States was in a financial landslide with Wall Street being hit hard. The point is made that not a single person went to jail for causing the collapse or for causing tens of thousands of people to lose their homes, jobs, or life savings.

This makes the audience realize that what the women did pales in comparison to Wall Street types (their victims), and many of their lures got what they deserved.

The subject matter at hand being one of the worlds of strippers may turn off some of the prudish but delving into the emotions and aspirations of those who exist in the industry is eye-opening and quite interesting.

Hustlers (2019) successfully garner empathy from its audience and champions a female empowerment movement resulting in the surprise hit of the season.

Independent Spirit Award Nominations: Best Director-Lorene Scafaria, Best Supporting Female-Jennifer Lopez, Best Cinematography

On the Waterfront-1954

On the Waterfront-1954

Director Elia Kazan

Starring Marlon Brando, Eva Marie Saint

Scott’s Review #876

Reviewed March 9, 2019

Grade: A

Led by one of the best acting performances of all time, On the Waterfront (1954) was an important and relevant film when made and is still powerful in the modern era.

Director Elia Kazan and newly minted Hollywood star Marlon Brando join forces for a film spectacle that is as much a character study as a tale of morality and social injustice.

The musical soundtrack score composed by Leonard Bernstein only enhances an already astounding picture that is deservedly referenced as a masterpiece.

Terry Malloy (Brando) is a washed-up former local boxer who now spends his days slaving away as a dockworker on the dingy waterfronts of Hoboken, New Jersey. Terry’s brother Charley (Rod Steiger) works for a vicious mob boss, Johnny Friendly (Lee J. Cobb) who has complete control over the area.

The police are aware of the ongoing corruption but are limited by the lack of evidence and witnesses to regular crimes. When a fellow dockworker is killed, Terry falls for the victim’s sister, Edie (Eva Marie Saint), leading him to rethink his priorities.

The positive aspects of On the Waterfront are enumerable. Enshrined in the rich story and flawless acting are marvelous cinematography and location sequences. The film was shot almost entirely on location in New York and New Jersey using real docks and outdoor sequences that give the film authenticity.

The dingy and water-soaked locales are riddled with secrets and dark violence that reach new levels by using realism and grittiness.

Never looking more masculine or more handsome, though his portrayal of Stanley in A Streetcar Named Desire (1951) is a close second, Marlon Brando achieves riches in the world of stellar acting.

He is rugged and compassionate, macho yet tender, and pours his heart into the role of Terry, and one cannot help wondering if the self-professed method actor became Terry during filming.

With both vulnerability and strength, Brando embodies the character so well that he has become my favorite of all the film roles he has undertaken.

The supporting players dutifully flesh out the resounding cast with gusto. Special mentions go to both Karl Malden as Father Barry and Steiger as Charley. Like Barry, Malden brings a warm character who is patient and benevolent in a world of crime and deceit. He attempts to console and mentor the folks in his world and is eventually beaten for his honesty and earnestness.

Charley is a different story, selling his soul to the devil and accepting the cards he has been handed, choosing to join with Friendly. At a crucial moment, he makes another devastating choice that changes his life forever.

Few films can proudly boast a scene or dialogue that remains timeless and imprinted on cinematic history, but On the Waterfront contains a scene of this caliber.

During a tremendously important moment in the film, Terry has a conversation with Charley and makes an impassioned statement-“I coulda’ been somebody. I coulda been a contender”, laments Terry to his brother, “Instead of a bum, which is what I am – let’s face it.”

This line is a historic piece of writing and is true to the heart of the character.

The film reaches further in its power and truth because it is representative of Elia Kazan’s real-life plight. During the early 1950’s the director famously informed on suspected Communists before a government committee while many of his colleagues chose to go to prison rather than name names.

Many Hollywood actors, directors, and screenwriters were blacklisted for decades to come. On the Waterfront is frequently deemed as an allegory to the director’s plight and therefore is a very personal story.

On the Waterfront (1954) is sometimes violent and all-times realistic, painting a portrait of one man’s struggle to overcome the lousy life that has been given to him to do the right thing.

Thanks to gorgeous direction, an explosive lead performance by Brando, and all the pieces fitting perfectly in unison together, the film is one of the greats and hopefully will remain one that generations will come to discover.

Oscar Nominations: 8 wins-Best Motion Picture (won), Best Director-Elia Kazan (won), Best Actor-Marlon Brando (won), Best Supporting Actor-Lee J. Cobb, Karl Malden, Rod Steiger, Best Supporting Actress-Eva Marie Saint (won), Best Story and Screenplay (won), Best Music Score of a Dramatic or Comedy Picture, Best Art Direction, Black-and-White (won), Best Cinematography, Black-and-White (won), Best Film Editing (won)

Double Indemnity-1944

Double Indemnity-1944

Director Billy Wilder

Starring Fred MacMurray, Barbara Stanwyck

Scott’s Review #847

Reviewed December 26, 2018

Grade: A

Double Indemnity (1944) epitomizes the classic film noir genre perfectly. All the necessary elements exist, from intrigue, suspense, and unpredictable thrills, to schemes and dastardly deeds by the major players.

The on-screen chemistry between leads MacMurray and Stanwyck provides enough romantic flair and provocative moments to entertain all as developments progress when a smitten man meets a femme fatale and a devious plot is hatched.

Director Billy Wilder was one of the most influential directors of his day with this picture being his first effort resulting in fabulous critical acclaim.

The accolades put him firmly on the map for years to come culminating in an Oscar win in 1950 for The Apartment. Wilder uses a clever insurance “double indemnity” clause as its title making it one of the best and most influential crime dramas of the 1940s staking ground for other similarly themed films.

The story is told via flashbacks as a wounded Walter Neff (Fred MacMurray) scrambles to record a confession to his colleague and best friend, Barton Keyes (Edward G. Robinson).

The action rewinds to an average, ordinary day when Neff makes a routine stop to sell insurance and meets flirtatious Phyllis Dietrichson (Barbara Stanwyck). She brazenly inquires how she ought to go about taking out an insurance policy on her husband’s life without his knowledge.

When Neff deduces Phyllis’s intention to kill her husband he declines any further help but cannot forget the ravishing beauty and her charms. He ultimately succumbs to her whims and aids her in a wicked crime.

The adventure that the audience is taking on is the most fun aspect of the film. We already deduce that Neff is involved in shenanigans but most of the fun occurs after the murder has been committed and Phyllis and Neff’s scheme begins to unravel.

The added component of Neff’s colleague and close friend, Keyes, being in the mix as he starts to suspect foul play is equally compelling. Will he finally figure out that Neff is involved in the plot? Will Keyes cover for Neff if discovered? Will Phyllis’s past-history catch up with her and twist events in a different direction?

These questions make the film a great picture.

A debate among viewers can ensue as to whether Neff is sympathetic or not as this point continues to cross my mind with each viewing. One can safely say that he is seduced by the charms of an eager and aggressive woman, but if he is to blame for the crimes is she not even more to blame?

As events unfold sides can be drawn and defenses of characters can be more focused, particularly after Double Indemnity’s startling conclusion.

Neff is not a strong, heroic character and is rather weak, easily being manipulated by the cagey Phyllis. It is interesting how little time it takes for him to succumb to her plot and willingly do the crime for her.

In the final act, Neff does show some needed muscle, but this is only because his “goose is cooked” and he finally realizes the dire nature of Phyllis’s character, but shouldn’t he have discovered this sooner?

MacMurray and Stanwyck have smoldering chemistry and this is a major success of the film keeping the audience invested in the plot. The added measure of the murder victim being rather unknown to the audience adds a macabre rooting value to the pair.

Wilder never presents the plot as a romantic triangle or Neff and Phyllis having any other romantic entanglements, so the only roadblock is the insurance company and their suspicions surrounding Phyllis.

Wilder adapted the screenplay from James M. Cain’s novella of the same name and spins a potent film noir from these pages. Double Indemnity (1944) is intelligent, sexy, and mysterious mixing in as much sultry poise as witty dialogue.

Thanks to the allure of fine actors and a stunning adventure on a train, the film is a measured success and a highly influential cinematic story.

Oscar Nominations: Best Motion Picture, Best Director-Billy Wilder, Best Actress-Barbara Stanwyck, Best Screenplay, Best Scoring of a Dramatic or Comedy Picture, Best Sound Recording, Best Cinematography, Black-and-White

BlacKkKlansman-2018

BlacKkKlansman-2018

Director-Spike Lee

Starring-John David Washington, Adam Driver

Scott’s Review #802

Reviewed August 14, 2018

Grade: A

Spike Lee’s latest offering, BlacKkKlansman (2018) is a brilliant effort and oh so timely in the tumultuous political climate in the United States circa 2018.

Despite the film being set in the early 1970s, the racial issues and tensions that Lee examines are sadly still an enormous problem in present times. Lee infuses some humor and even romance into the drama so the film is not too preachy or heavy.

A grand and relevant effort that should be watched by all.

As the film commences, we are treated to a clip from the 1939 classic film Gone With the Wind and BlacKkKlansman concludes with prominent clips of racial tensions circa 2017.

The timeline is extremely important and powerful as the point of the film is made abundantly clear that racism is still alive and well.

Lee, a known liberal, puts a clear left spin on his work- BlacKkKlansman will likely not be seen by conservative filmgoers and this is sad as valuable lessons learned can be achieved by viewing this piece.

The story is based on a true story memoir written by Ron Stallworth, the first black police officer to be hired by the Colorado Springs police department. He successfully infiltrates the local chapter of the Ku Klux Klan with startling results.

The film begins with a speech by a doctor (Alec Baldwin) offering a “scientific explanation” of white superiority in 1957. Fast-forward to the early 1970s where the rest of the film takes place.

Ron is initially hired by the police force as a progressive initiative for diversity, but quickly moves into a detective role as he manages to pose as a KKK member via telephone while another detective, Flip Zimmerman (Adam Driver) goes to meetings in person.

Lee’s focus is clearly on the overall content and message of the film and therefore little character development is achieved. I admittedly did yearn to know the “how’s” and the “why’s” of many of the characters, but the film is not really about the characters individually and I am okay with this.

Why did Ron desire so much to become a police officer? What was his childhood like? How did Patrice become President of the black student union? What was her childhood like? What upbringings did some of the KKK members have?

Certainly, enough time would not have been allowed to answer all of these questions. Small gripe.

Lead actor John David Washington, son of Denzel Washington, unknown to me before watching this film, is tremendous in his role. As is Driver in his supporting role of Zimmerman, but again these are not character-driven roles.

Washington has tremendous chemistry with his love interest, played by Laura Harrier. Ron and Patrice discuss politics and dance the night away, but she is an activist and a cop making their chances of happily ever after tough to imagine. Their romance is atypical of most films as it is based on intelligence and not silly, melodramatic aspects.

On the acting front, Topher Grace as the racist David Duke is tremendous. With a kindly demeanor mixed with a bubbling under the hatred of blacks and Jewish people, Lee makes certain he is the foil.

A delicious scene towards the end of the film when Duke gets his comeuppance of sorts is well done and received a thunderous roar from the theater audience.

Lee is careful to make sure the bad guys all get their just due and are all portrayed as complete fools. With a false sense of nationalism, many hate minorities simply because they feel they are taking over their beloved country.

Not to harp on this, but BlacKkKlansman will attract those who already agree with Lee’s beliefs and politics. If only those who disagree would give the film a chance. Unlikely.

The final five minutes of BlacKkKlansman arguably is the most pivotal experience of the entire film but has nothing to do with the actual story portrayed in the rest of the production.

Lee concludes the 1970’s portion of the film in a satisfying fashion, then fast forwards to the horrific events that took place in Charlottesville, Virginia in 2017 when protesters clashed with a racist group resulting in an innocent woman’s death.

The controversial remarks of President Trump- refusing to cast blame on the racist group are shown. Sitting in a crowded movie theater, these clips had the biggest reaction from the audience with some flipping Trump the finger, while others sobbed in anguish and disbelief that we have achieved so little as a nation.

Rarely ever a  more pertinent or meaningful film for the current political climate the United States is experiencing, BlacKkKlansman (2018) brilliantly ties racism spanning one hundred and fifty years and shows how it still exists.

Amid this message, however, lies a great drama containing humor and importance.

Oscar Nominations: Best Picture, Best Director-Spike Lee, Best Supporting Actor-Adam Driver, Best Adapted Screenplay (won), Best Original Score, Best Film Editing

Mystic River-2003

Mystic River-2003

Director Clint Eastwood

Starring Sean Penn, Tim Robbins

Scott’s Review #801

Reviewed August 10, 2018

Grade: A

Mystic River (2003) is a film that I consider to be the second-best offering directed by Clint Eastwood.

Along with Million Dollar Baby (2004), Eastwood successfully creates two compelling back-to-back dramas, not too dissimilar from each other.

He was unquestionably the “it” director of the early 2000s, and with Mystic River, helms a gritty, mystery drama with a stellar cast, nuts-and-bolts storytelling, and enough twists and turns to keep the audience guessing and ultimately shocked.

All of these pieces result in a memorable experience.

The film is based on the novel of the same name, written by Dennis Lehane. A tremendous element is a locale of Boston, and an Irish, blue-collar/working-class theme, prevalent throughout the story.

Thanks to the cinematography, illuminating a grey and stormy look, enhances the rest of the film. I adore films shot in and around Boston as so much culture and flavor are provided.

Eastwood hardly misses a beat with some cold and grizzled touches that play into the hardships and struggles of the character’s everyday lives.

The story itself begins as we meet the central characters (Jimmy, Dave, and Sean) as young boys, a three musketeers-type scenario where they are like blood brothers. After an incident occurs where Dave is accosted by men and sexually abused, he is ultimately rescued after four torturous days, but his life is never the same.

Fast forward twenty-five years and the boys are now men, still living in a working-class Boston neighborhood. Each is now married, their lives have moved on, drifted away from each other, and contain vastly different personality types.

They reunite after a tragedy occurs.

For starters, a major win by Eastwood is the casting of each of the male characters. Sean Penn plays Jimmy, the volatile ex-con, who runs a small store, while Sean, played by Kevin Bacon, has become a Massachusetts State Police officer, putting him directly at odds with Jimmy.

Sadly, Dave (Tim Robbins), now lives a quiet life, still harboring trauma, shame, and guilt from his childhood experience. When Jimmy’s daughter (Emmy Rossum) is brutally murdered, the three friends’ lives are intertwined as they search for the killer taking the viewers down a dark path filled with secrets, some from the past.

Laura Linney and Marcia Gay Harden give tremendous performances as Jimmy’s and Dave’s wives, respectively.

Mystic River is a film where all of the great elements come together perfectly. From the acting to the components of the story to the whodunit involved, to the exciting twist and conclusion to the overall film are truly exceptional.

But what sets it apart from a standard drama or thriller are the characterizations and relationships among these characters.

Childhood memories can last a lifetime in their monumental importance and this is evidenced many times between Jimmy, Dave, and Sean. Blood brothers, yes, but when tragedy strikes, old wounds and fresh wounds together run deep.

The themes of violence and revenge are firm staples of this film, and these are commonalities for many Eastwood films. Viewers may also find themselves conflicted with whom to sympathize with or where their allegiances should lie.

Jimmy, the anti-hero, will garner sympathy for the vicious loss of his daughter- pain that can never be fully healed.

Did Dave, the obvious prime suspect, kill the girl? If so, was it on purpose or by accident? Are others, specifically his wife, involved in a cover-up? Eastwood carves the setup spectacularly, but is it a simple red herring? These events make the film unbelievably compelling.

Fabulous is the performances all around, but especially by Penn and Robbins, both awarded with Oscar wins for Best Actor and Best Supporting Actor, respectively.

Penn never delivers poor performance, but Jimmy is one of his best characters yet. As for Robbins, he fills the character of Dave with empathy- a wounded bird left damaged through no fault of his own, suffering a terrible fate due to circumstances, misunderstandings, and ultimately tragedy.

Mystic River (2003) watched alongside Million Dollar Baby (2004) would make for an excellent Saturday night for fans of Clint Eastwood’s directorial talents. These two are the best of the best with great character development and rich writing.

The direction, however, enhances the spectacular elements and takes it a bit further providing appropriate texture and a wonderful atmosphere.

Oscar Nominations: 2 wins-Best Picture, Best Director-Clint Eastwood, Best Actor-Sean Penn (won), Best Supporting Actor-Tim Robbins (won), Best Supporting Actress-Marcia Gay Harden, Best Adapted Screenplay

Good Time-2017

Good Time-2017

Director-Ben Safdie, Joshua Safdie

Starring-Robert Pattinson, Ben Safdie

Scott’s Review #767

Reviewed June 5, 2018

Grade: B+

Every so often an actor who is known for either doing mainstream films or for portraying a mediocre character risks being typecast.

Fortunately for actor Robert Pattinson, known mostly as the heartthrob from the trite Twilight films, he has been given the best role of his career. The actor hits the jackpot with a challenging and edgy performance in the fast-paced independent crime drama, Good Time (2017).

The film is a very good ride, and directors Ben and Joshua Safdie successfully provide excellent tension and compelling action scenes (Ben even gives a worthy supporting performance as a mentally challenged character). The overall tone of the film is that of an edge-of-your-seat experience.

As enjoyable and taut as the film is, a few minor criticisms must be mentioned below.

Good Time begins with Nick Nikas (Ben Safdie) being quizzed by a therapist. They are quickly interrupted by Nick’s brother Connie (Pattinson), who removes him from the facility so that he can assist with a bank heist.

When the attempt goes awry and Nick is arrested, Connie does his best to spring his brother from jail than from the hospital following an altercation with another inmate. All the while, Connie must also evade the police as he forms a strange connection with a sixteen-year-old girl, Crystal (Taliah Webster).

The fun part of Good Time is that the film is fast-paced and filled with twists and turns. Largely taking place over the course of one night, we are compelled by Connie’s journey and wonder if he will outrun the cops.

In a way a standard thriller, Good Time rises slightly above this ranking with its wonderful New York City setting with numerous exterior scenes- this is a major plus.

Also garnering props for the film is the look of it. With a slick yet gritty and grainy feel, the camera angles are quick and plentiful. This is a great tool to keep the action going at lightning speed and the editing deserves kudos too.

The intensity and tension run rampant throughout. A good example of this is the bank robbery scene- as the teller disappears into the vault to get the requested amount of money she takes what seems like an eternity to return, leaving the audience (and Connie) wondering if she has alerted the authorities.

Otherwise, the film is helped immensely by the acting performance of Pattinson who owns the film. Having not seen him in anything before I was surprised at how good he is.

Thinking of him as more a matinee idol versus a serious actor, I was proven wrong. Grizzled, temperamental, but being a decent guy at times, Pattinson’s Connie is loyal to a fault, putting his brother first and foremost.

Fans of Captain Phillips (2013) will be delighted to see Barkhad Abdi cast in a small yet pivotal role of an amusement park security guard.

Nominated for the Best Supporting Actor award for Captain Phillips, the Somali- American actor has been able to find steady work in film since his acclaimed debut performance.  In his role in Good Time, the character is instrumental in kicking off the final act that leads to the downfall of at least one other character.

Worth mentioning are a few small but notable flaws (rather unnecessary) that Good Time contains.

Perplexing to me is the casting of Jennifer Jason Leigh in the role of Connie’s girlfriend Corey. Decades older than Connie, Corey is written pretty much as a nitwit- attempting to use her mother’s credit card to bail out Nick.

The film does not mention the age difference nor provides much meat to the role- Jason Leigh deserves better than a throwaway role like this.

Otherwise, none of the female characters are treated especially well. Connie frequently directs or shouts at either Corey or even Crystal eliciting a “man in charge” vibe that is slightly off-putting.

Also, a gay slur uttered by Connie is thrown into a scene for seemingly no reason, which in 2017 surprises me. Still, there is something that makes the audience root for Connie while we still want him to get his punishment.

Good Time (2017) provides quality entertainment in a specified genre with good acting all the way around.

With a weird Ocean’s Eleven style (only with one prominent character) the bank robbery theme will satisfy those in the mood for a good heist film. The title of the film is a mystery (is it irony?) and not sure it totally works, but overall the film is a very good watch.

Independent Spirit Award Nominations: Best Director-Safdie Brothers, Best Male Lead-Robert Pattinson, Best Supporting Male-Benny Safdie, Best Supporting Female-Taliah Lennie Webster, Best Editing

Bonnie and Clyde-1967

Bonnie and Clyde-1967

Director Arthur Penn

Starring Warren Beatty, Faye Dunaway

Scott’s Review #628

Reviewed March 25, 2017

Grade: A

Bonnie and Clyde is an excellent 1967 crime drama that is not only a great film, but successfully, and surprisingly wound up influencing an entire generation, becoming somewhat of a rallying cry for the youth generation of the time.

Released in a tumultuous period in history (the Vietnam War, the Sexual Revolution, and Civil Rights), the film fits the times and was groundbreaking in its use of violence, blood, and sex.

The film holds up tremendously well to this day and is beloved by intelligent film lovers everywhere.

The film begins with snapshots of the real Bonnie and Clyde- a duo of bank robbers who rampaged the southwest during the Great Depression.

Set in steamy Texas, circa the 1930s, the film tells its story.

Clyde Barrow (Warren Beatty) meets Bonnie Parker (Faye Dunaway) when he tries to steal her mother’s car one hot day. Instantly infatuated with each other, the steamy duo team up and become partners in crime.

Over time they enlist the help of others and become more successful bank robbers with the stakes rising with each heist. Rounding out the crew of criminals are gas-station attendant, C.W. Moss, and Clyde’s older brother Buck, played by Gene Hackman, along with his wife, Blanche (Estelle Parsons), an innocent-minded, and sometimes hysterical, preacher’s wife.

Bonnie and Clyde is a unique film in many different ways- the quick-cut editing style influenced Sam Peckinpah in his films to come, and the film uses a fast-paced rat-a-tat-tat style that symbolizes the gunfire-a major element of the film.

Blood spurts from victims’ bodies in a style never before seen on the big screen and led to many filmmakers’ comfort with using increased violence.

You could say that Bonnie and Clyde took away the innocence of Hollywood films and shook all of the traditional elements inside out.

The conclusion of the film is one of the greatest in cinematic history.

Far from an idyllic, happy ending, traditional with films in those days, the law finally catches up with Bonnie and Clyde with grim results for the pair, and their demise is gruesome but true to form.

We have fallen in love with the characters so their hasty exit from this world is tough to stomach and as they writhe and twitch with each gunshot wound, the bullets pummeling the bodies, the scene is a difficult one to watch.

The love story between Bonnie and Clyde is intense, yet sweet, and the casting of Beatty and Dunaway is spot on. Smoldering with sexuality- as Bonnie fondles Clyde’s gun who does not see this as a phallic symbol- their relationship is fraught with stamina and emotional energy.

The two actors feed off of each other and fill the scenes with gusto. Their chemistry is part of what makes the film so great.

One of the best scenes is the shoot ’em up showdown at a ranch where the group of robbers is hiding out the scene is laden with intensity and violence. As Buck is mortally wounded, Blanche is blinded and captured, soon to make a grave mistake in revealing one of the identities of the others.

Bonnie, Clyde, and C.W. barely escape with their lives and their antics from this point become bloodier and bloodier. The cat and mouse play during this scene makes it the most suspenseful of them all.

Amid all of the violence, a wonderful scene exists when Bonnie and Clyde meet up at a secret location with Bonnie’s mother. A local townswoman and non-actress were cast in the pivotal role of Bonnie’s mother and the scene is an emotional experience.

The woman’s kindness and sensibility and the sheer “regular person” she encompasses humanize Bonnie and Clyde, and ominously, their downfall is soon to occur.

A heavily influential film, Bonnie and Clyde is a film that is still quite relevant, especially for those who appreciate the good film, and rich, intelligently written characters, who are flawed, yet humanistic, layered with complexities.

This is what director, Penn, carves out, and the film is an all-time Hollywood classic.

Oscar Nominations: 2 wins-Best Picture, Best Director-Arthur Penn, Best Actor-Warren Beatty, Best Actress-Faye Dunaway, Best Supporting Actor-Gene Hackman, Michael J. Pollard, Best Supporting Actress-Estelle Parsons (won), Best Story and Screenplay Written Directly for the Screen, Best Costume Design, Best Cinematography (won)

The Grifters-1990

The Grifters-1990

Director Stephen Frears

Starring John Cusack, Anjelica Huston, Annette Bening

Scott’s Review #597

Reviewed January 9, 2017

Grade: B-

The Grifters (1990) is a film that has witty writing and an overall appeal. It is unique and quirky and is in the style of a charismatic film noir from one of the golden ages of film, the 1930s, and the 1940s.

Additionally, the film has a very sharp, clean look to it.

The performances, especially Anjelica Houston, are excellent. All three principles, (John Cusack and Annette Bening) give fantastic performances and feed off each other so that the chemistry works quite well.

Cusack plays a small-time crook named Roy Dillon, inept in ways, and estranged from his mother (Huston). When she returns to town, she along with his girlfriend (Bening), all attempt to con and outmaneuver each other for their gain.

The film is set in sunny Los Angeles.

As compelling as the film sounds on paper, I did not find myself completely captured by it. It took me a while to get into the film and by the time I finally did, it had ended.

Overall, well made, and respectable, and I can see how some people would love it, but for me, there remained something missing.

Oscar Nominations: Best Director-Stephen Frears, Best Actress-Anjelica Huston, Best Supporting Actress-Annette Bening, Best Screenplay Based on Material from Another Medium

Independent Spirit Award Nominations: 2 wins-Best Feature (won), Best Female Lead-Anjelica Huston (won)

Animal Kingdom-2010

Animal Kingdom-2010

Director David Michod

Starring Ben Mendelsohn, Joel Edgerton

Scott’s Review #519

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Reviewed November 15, 2016

Grade: A-

Animal Kingdom (2010) is an excellent Australian crime drama movie that is in the same vein as Goodfellas (1990), The Godfather (1972), or a myriad of other mafia/mob-type films- only Aussie style, which in itself piques interest.

The film has an indie feel, is raw and not slickly produced, and is not over-dramatized with explosions, CGI effects, and various other bells and whistles, making it character-driven.

It is simply a well-made drama about a seventeen-year-old boy named Joshua, who is taken in by his extended family of criminals.

Starting like an innocent, he slowly becomes entangled in the family’s web of corruption. This is similar to Al Pacino’s Michael Corleone from The Godfather.

Making the plot even more compelling, is the arrival of a goodhearted detective (Guy Pearce) who tries to steer Joshua on the straight and narrow.

The acting is topnotch (Jacki Weaver in particular is amazing as the diabolical leader of the family), shocking events happen out of the blue, and operatic music mixed in with dramatic events is well done.

Animal Kingdom (2010) is a diamond in the rough.

Oscar Nominations: Best Supporting Actress-Jacki Weaver

End of Watch-2012

End of Watch-2012

Director David Ayer

Starring Jake Gyllenhaal, Michael Pena

Scott’s Review #447

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Reviewed July 8, 2016

Grade: B+

End of Watch (2012) impressed me much more than I was expecting. What I expected was a safe, by-the-numbers, buddy/action movie, since it was rather promoted as such from the previews.

It was worlds better than that and threw me for a loop, in a good way.

The film stars Jake Gyllenhaal and Michael Pena as two detectives patrolling the streets of grizzled central Los Angeles, which are riddled with drug and gang violence.

The viewer is brought along for the ride as we see a day in the life if you will, of their cop beat.

The one knock I’ll give the film is the implausibility factor of a cop videotaping everything. This seems silly and unrealistic.  Wouldn’t he be incredibly distracted? That said, some of the filmings were amazing, including the opening sequence.

The film contains a realistic, grittiness to it, and the Los Angeles locale is very effective.

End of Watch (2012) feels painstakingly real, is not always happy, and the dynamic between Jake Gyllenhaal and Michael Pena is evident and their friendship feels real.

The movie feels like a day in the life of an LA cop, sparing no edgy detail, and does not gloss over the lifestyle as many cop films choose to do.

Independent Spirit Award Nominations: Best Supporting Male-Michael Pena, Best Cinematography

Dirty Harry-1971

Dirty Harry-1971

Director Don Siegel

Starring Clint Eastwood, Harry Guardino

Top 100 Films #86

Scott’s Review #443

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Reviewed July 4, 2016

Grade: A

Dirty Harry (1971) is a classic crime drama that became a signature role for Clint Eastwood as the title character, a character he has played four more times.

Dirty Harry set the tone for the plethora of crime thrillers and police action films that filled theaters throughout the 1970s and 1980s. This film still holds up very well and is a masterpiece of the cat and mouse/detective genre.

Quiet, and controlled, but filled with anger below the surface (we learn his wife was killed by a drunk driver), Harry Callahan is a tough cop in San Francisco who has seen it all. He is a red-blooded American good guy, though is brooding and has a mind of his own, oftentimes disagreeing with his superiors and their rules.

He epitomizes good versus evil.

A vicious killer named Scorpio (based on the real-life Zodiac killer) is on the loose, having killed two people already. His motives are unclear, but that is rather unimportant. What is important is that he threatens to kill one person per day unless his demands of $100,000 are met.

Harry is immediately assigned to the case despite his reputation for being difficult and violent. This leads to a cat-and-mouse game between Harry and Scorpio in Harry’s pursuit of the criminal.

Scorpio is played by Andy Robinson, who is a fantastic villain- perhaps one of the most frightening in film history. His dirty blonde locks, yet angelic face, combined with maniacal facial expressions make his portrayal quite frightening.

He is a sniper so he is continually perched on rooftops seeking his next victim. As he watches a couple eating ice cream in the park or a woman swimming in a rooftop pool, we feel a sense of voyeurism and dread.

His disturbing sense of humor and sadistic personality make him quite scary.

The film succeeds in large part because of its grit and violence.  And it is a very masculine film. Harry is a take-no-prisoners kind of guy and he is hell-bent on stopping Scorpio from killing- no matter what.

In a very effective scene, Harry chases Scorpio to a vast football field and uses torture to elicit a confession from Scorpio. It is a bloody and intense scene, but quite necessary to who Harry is.

Of course, this tactic backfires as Scorpio is released from the hospital and set free. This leads to a further feud between the two men.

A bonus of Dirty Harry, and one aspect that gives so much authenticity, is the on-location setting of San Francisco. From the Golden Gate bridge to the illustrious mountains outside of the city and the Pacific Ocean, these elements give a dash of realism to an already gritty film. Chinatown and Dolores Park are also featured.

Highlighting all of this is a sequence where Scorpio forces Harry to go from locale to locale on foot in part of a wicked game to save a victim.

Harry’s famous lines as he points his gun at the perpetrators and mocks them by asking them if five or six bullets in his gun are now legendary as is his “Do I feel lucky? Well, do you, punk?”

On the surface a bit silly and gimmicky, these catchphrases somehow still work.

The school bus finale as Harry and Scorpio once again square off is great. As Scorpio hijacks a bus filled with grammar school students, he tricks the students, unaware of his intentions, by engaging them in children’s song sing-alongs as the harried bus driver drives out of the city.

When one child catches wind of the situation, Scorpio turns nasty, scaring the children into a frenzy.

Dirty Harry (1971) is a classic cop film that I never tire of watching. For the genre, it is as good as it gets and holds up well. After all of these years, it is tough to disassociate Clint Eastwood from the role of “Dirty Harry”.

Arbitrage-2012

Arbitrage-2012

Director Nicholas Jarecki

Starring Richard Gere, Susan Sarandon

Scott’s Review #437

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Reviewed July 1, 2016

Grade: B+

Arbitrage (2012) is an exciting, interesting, little indie thriller starring Richard Gere as a successful, but troubled, CEO, whose life begins to unravel around him through a series of circumstances.

He is a billionaire but at risk of losing everything due to shady dealings and fraudulent activity.

The film is the type that keeps the audience guessing and is never predictable. The plot slowly unravels into something of a pot-boiler. It is tense.

Richard Gere is the standout as he gives a wonderful, believable performance. Once known as little more than a hunky Hollywood star, Gere has blossomed in recent years, taking on more compelling and complex roles.

Arbitrage (2012) contains some Hitchcock elements throughout in its complexities, though Gere’s character is an anti-hero whereas Hitchcock’s were frequently good guys in bad circumstances.

The car crash scene is brilliantly done.

I wish this movie had received more attention than it has as it is a fun, thrill ride.

The Paperboy-2012

The Paperboy-2012

Director Lee Daniels

Starring Matthew McConaughey, Zac Efron, Nicole Kidman

Scott’s Review #427

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Reviewed June 21, 2016

Grade: A-

The Paperboy (2012) is an exceptional piece of filmmaking by modern acclaimed director, Lee Daniels (Precious-2008, The Butler-2010), who has become one of my favorite directors in recent years.

His latest film is raw, violent, containing elements of black comedy, and is arguably Nicole Kidman’s and John Cusack’s best performances.

They both play troubled, insecure characters, who have major issues.

It is set in the Deep South during the 1960s and has film noir leanings. The film is incredibly tough to classify, but the drama will cover it just fine.

Racism, homosexuality, and deceit are subject matters covered in this complex yet fascinating experience.

Gritty and disturbing at times, The Paperboy (2012) is an important film that fans of true artistic cinema must see.

Seven Psychopaths-2012

Seven Psychopaths-2012

Director Martin McDonagh

Starring Colin Farrell, Sam Rockwell

Scott’s Review #422

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Reviewed June 19, 2016

Grade: B-

Seven Psychopaths (2012) is a film that I truly wanted to like more than I did.

It started well with a Quentin Tarantino style that was appealing and the film does contain an interesting premise.

Colin Farrell plays the straight man in a cast of offbeat, quirky characters and is attempting to complete a screenplay entitled “Seven Psychopaths” based on these characters.

Sounds great, but halfway through the movie stopped delivering. I found myself slightly bored.

The film has a unique concept, to be sure, but fizzles during the second act, so much so that it stopped making much sense and lost my interest.

I did admire the creativity, though, and the chemistry among the cast is great, but the overall story in Seven Psychopaths (2012) disappointed me.

Independent Spirit Award Nominations: Best Supporting Male-Sam Rockwell, Best Screenplay

Miller’s Crossing-1990

Miller’s Crossing-1990

Director Joel Coen

Starring Ethan Coen, Gabriel Byrne

Scott’s Review #394

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Reviewed April 13, 2016

Grade: B+

Containing a mixture of The Godfather Part III, Goodfellas, and The Grifters- ironically all released in 1990- Miller’s Crossing is an old-fashioned gangster film made fresh thanks to the direction of Joel Coen.

He brings a quirky edge to the film, throwing in a blend of film noir, black humor, and edgy characters, that make the film storyline feel fresh and alive in the present.

It has a definite late 1980’s era cinematic look (not a compliment).

I could immediately tell which decade it was made. Miller’s Crossing begins slowly, but during the second act gains steam and is the best part of the film.

The film is set somewhere in New York during the 1920s Prohibition period- it is assumed New York City, but this is never stated.

The general story involves Tom Reagan, a handsome Irish gangster, and right-hand man of Leo O’Bannon (Albert Finney), who becomes involved in conflict with Leo, his lover Verna (Marcia Gay Harden), and her brother Bernie (John Turturro), who is wanted dead by rival Italian mobster, Johnny Caspar.

Johnny’s right-hand man “Dane” comes into play, as does another gangster, Mink, played by Steve Buscemi. Tom changes allegiances and plays one mob boss against the other as a web of deceit, tested loyalty, and murder ensues.

As the first half concluded I was not completely sold on the film.

How many times have I seen a gangster film with all the stereotypical elements, the tough-guy shtick, and the contrivances?

I was afraid I was watching a retread of similar films.

I wondered what the point of the film was- the relationship between Tom and Leo’s struggle for power and control. A triangle between Tom, Verna, and Leo?

I noticed little chemistry among any of them and could not help but wonder if a female presence was required in the film, but not all that necessary. Regardless, I was quickly bored with the character of Verna.

But then the elements of the film started to come together and some rather left-of-center nuances presented themselves leaving me more engrossed.

A homosexual triangle (seldom seen in traditional, crime/mob films) took shape between Mink, Dane, and Bernie. All vicious killers had no stereotypes often seen in the film, which is refreshing.

Dane was arguably the most brutal of all the characters, and the bloodletting was plenty. I found this reveal completely refreshing not to mention unexpected.

However, the intricacies of the triangle were left unexplored. They simply bedded each other.

A pivotal scene set in the woods (Miller’s Crossing) is as gorgeous as it is character-driven. Tom must choose between killing Bernie and proving his loyalty to the mobsters awaiting, or secretly letting him live, fake his death, all in the name of his love for Verna.

But will his decision come back to haunt him?  Is Tom, at his core, a good man or a bad man?

The calm of the forest mixed with the brutality of the film is perfect. I was reminded of the 1970 Italian masterpiece The Conformist as I viewed this beautiful scene. Tom’s conflict between good and evil and his earlier premonition of a tumbling hat comes into play.

His character conflict reminded me of Michael Corleone in The Godfather films.

Look quickly and you will see Frances McDormand, soon to be a fixture in Coen films, as a slinky, well-dressed secretary. We are reminded of great things to come by this then-unknown talent.

A nice thing that I always look forward to in Coen films are the quirky, weird, fun, minor characters, and Miller’s Crossing is no different- Johnny Caspar’s overweight wife and son- an Augustus Gloop from Willy Wonka and the Chocolate Factory lookalike- give comedy to the potentially too dark film.

From Bryan to Tic-Tac, to the fat lady with the purse, all give amusing and meaningful turns that give the film a richness with an unusual cast of characters.

Miller’s Crossing (1990) proves to be a nice little film once it picks up steam and the intertwining of stories, characters, and a bit of classic film noir mixed in, makes it a refreshing take on an age-old genre of film.

Jackie Brown-1997

Jackie Brown-1997

Director Quentin Tarantino

Starring Pam Grier, Robert Forster

Top 100 Films #92

Scott’s Review #356

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Reviewed January 9, 2016

Grade: A

Quentin Tarantino’s Jackie Brown (1997) is a fantastic film and one of the few to have a solely female lead (Kill Bill Volumes I and II are the others) and successfully re-launched star Pam Grier’s and Robert Forster’s careers after too many years on the sidelines.

The film is heavily influenced by Grier’s earlier films in the 1970s blaxploitation genre. Jackie Brown is one of the more obscure Tarantino films, but is brilliant nonetheless and filled with slow, plodding, yet tremendous scenes.

Grier plays the title character, Jackie Brown, a flight attendant for a small Mexican airline who smuggles money into the United States from Mexico to supplement her income. When she is caught and threatened by the Feds to aid them in catching a much larger fish, she plots to use both sides to her advantage and walk away with the money.

Jackie develops feelings and a sweet relationship ensues with Max Cherry, a bondsman played by Forster.

Mixed in with the plot is Tarantino staple, Samuel L. Jackson, as Ordell Robbie, a crooked drug smuggler, Robert De Niro as Louis, a former cellmate of Ordell’s, and Bridget Fonda as Melanie, a dizzy stoner girl.

As is always the case with Tarantino films, Jackie Brown contains a stellar cast just chomping at the bit to deliver the best performance they can with the help of rich and crackling dialogue written for them.

The writing is always fantastic in Tarantino films and the number of plot twists and turns in Jackie Brown is great.

My favorite scene by far is the scene involving the transfer of money that takes place in the local Mall. Rich with flavor and atmosphere it is a marvel. Jackie and Max engage in small talk at the food court before the transfer is to take place- Jackie then goes to a fitting room where the “switch” will occur.

Throughout this sequence, the tension is incredibly high and the film turns into a nail-biter.

Tarantino, not one to focus on a romantic storyline, gives Jackie Brown a uniqueness as the film features the respectful and delicious romance between Jackie and Max. This adds layers to the mainly bloody and crime-laden film. To counter this relationship is the volatile relationship between Louis and Melanie, which ends in tragedy.

I love how the film is set in Los Angeles. Sunny, bright, with a stuffy and superficial element to the action, mixing the beach and the hot weather with a crime story, manipulation, and double-crossing works so well.

Giving aging Hollywood stars a deserving comeback, Tarantino weaves a complex, but adventurous and well-paced, crime drama featuring veteran actors who deliver the goods, Jackie Brown is a treasure in a world of other Tarantino treasures and is a must-have for all of the director’s fans and fanatics.

Oscar Nominations: Best Supporting Actor-Robert Forster

Goodfellas-1990

Goodfellas-1990

Director Martin Scorsese

Starring Ray Liotta, Robert De Niro, Joe Pesci

Top 100 Films #89

Scott’s Review #349

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Reviewed January 9, 2016

Grade: A

Director Martin Scorsese adapts Goodfellas, a crime-mob film, from the 1986 non-fiction book written by Nicholas Pileggi. Pileggi helped Scorsese write the screenplay.

The film is more matter-of-fact telling than the purely dramatic The Godfather, with more wit and humor thrown in and great editing.

Featuring powerful acting by Ray Liotta, Robert De Niro, and Joe Pesci, it is a classic mob film that is memorable and can be enjoyed via repeated viewings.

Largely ad-libbed, the film is rich in good dialogue and holds the distinction of containing one of the highest totals of curse words in film history.

The film is told from the first-person narrative of the lead character, Henry Hill.

Henry, now in the Witness Protection Program, recounts his years affiliated with the mob, spanning the years 1955 to 1980.

We meet Henry as a youngster in Brooklyn, New York, half-Italian, half-Sicilian, he idolizes the “wise guys” on the streets and has every intention of one day joining their ranks.

From there, the film describes the trials and tribulations of Henry’s group of miscreants. Henry meets and falls in love with Karen (Lorraine Bracco) and their tumultuous love story is explored, through tender moments and affairs.

What I love most about Goodfellas is the love of the characters and the sense that you are part of the action. The film is a highly stylized family drama- gritty nonetheless, but the viewer feels like they are part of things and a member of the family- milestones are celebrated and meals are shared.

We see Henry grow from a teenage gullible boy- idolizing the neighborhood men, to being part of the group.

The other characters, such as vicious and volatile Tommy DeVito (Pesci) and Jimmy “The Gent” Conway (De Niro), age and mature.

Bracco’s character is an interesting one- she, unlike most of the female characters in The Godfather films, is not content to merely sit on the sidelines and look past her husband’s shenanigans and torrid affairs with floozies.

She is a more modern, determined woman and Bracco plays her with intelligence and a calm demeanor. She wants to be Henry’s equal instead of just some trophy wife.

Pesci, who deservedly won the Best Supporting Actor Oscar for his role, is brutal and filthy, but so mesmerizing a character.

During a memorable scene, his character Tommy jokingly teases Henry, but when Henry responds in a way that displeases Tommy, the scene grows tense and Tommy becomes increasingly disturbing.

His famous line “What am I a clown- do I amuse you?” is both clever and haunting in its repercussions.

I adore the soundtrack that Scorsese chooses for the film- spanning decades, he chooses songs true to the times such as “Layla” (1970) or “Remember (Walking in the Sand)” (1964) are just perfect.

Worth noting is when a scene plays, sometimes the song is mixed in with the narrative so that it enhances the scene altogether- becoming a part of it rather than simply background music.

If one is looking for the perfect mob film, that contains music, wit, charm, and fantastic writing, Goodfellas is among the best that there is.

My preference is for The Godfather and The Godfather II, but while Goodfellas has similarities to these films it is also completely different and stands on its own merits.

Oscar Nominations: 1 win-Best Picture, Best Director-Martin Scorsese, Best Supporting Actor-Joe Pesci (won), Best Supporting Actress-Lorraine Bracco, Best Screenplay Based on Material from Another Medium, Best Film Editing