Category Archives: Robert De Niro

2023 Films, Brendan Fraser, Crime Drama, Drama, Epic, Jesse Plemons, John Lithgow, Leonardo DiCaprio, Lily Gladstone, Martin Scorsese, Robert De Niro, Western

Killers of the Flower Moon-2023

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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)

1980 Films, Biography, Cathy Moriarty, Joe Pesci, John Turturro, Martin Scorsese, Robert De Niro, Sports

Raging Bull-1980

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Raging Bull-1980

Director Martin Scorsese

Starring Robert De Niro, Joe Pesci

Scott’s Review #1,256

Reviewed May 14, 2022

Grade: A

Raging Bull (1980) might be director Martin Scorsese’s most personal film and his most character-driven. His other films contain great characters, rich with life, but with the focus firmly planted on controversial real-life boxer Jake LaMotta (Robert De Niro) there is much to explore.

His descent into madness is hard to watch but also impossible to look away from.

It’s tough to top the De Niro/Scorsese pairing featured in Taxi Driver (1976) when the actor simply kicked the audience’s ass with his ferocious portrayal of maniacal Travis Bickle. LaMotta arguably surpasses that portrayal because the boxer experiences the highest of the highs with the lowest of the lows.

And the audience is whisked away with him on the journey from heaven to hell. Arguably director and actor’s finest film, Raging Bull is often painful to watch, but it’s a searing, powerful work about an unsympathetic hero who we can’t help but explore.

A double-pairing film extravaganza of watching Taxi Driver and Raging Bull is a fabulous idea though the viewer may need a Valium to combat the resulting anxiety after experiencing these films.

I love the title that is Raging Bull because it is so apt and central to the film. Fueled with machismo, testosterone, and anger, Jake LaMotta certainly is a raging bull.

Screenwriters Paul Schrader and Mardik Martin, frequent collaborators of Scorsese’s, adapt the story from Raging Bull: My Story, a 1970 memoir written by LaMotta.

Raging Bull tells the story of an Italian-American middleweight boxer as he struggles through the ranks to earn his first shot at the middleweight crown. He possesses a self-destructive and obsessive rage, jealousy, and animalistic appetite that destroys his relationship with his wife and family.

Wonderfully cast as his wife Vickie is Cathy Moriarity who is a gorgeous girl from the Bronx who falls head over heels in love with Jake. Joe Pesci plays his well-intentioned brother and manager, who unsuccessfully tries to help Jake battle his inner demons.

Jake’s inability to express his feelings enters the ring and eventually takes over his life. He is sent into a downward spiral that costs him everything.

Comparisons to the exceptional Rocky (1976) are cute and perhaps contain some merit on paper but whereas the former is heroic and compelling, the main characters are nothing alike except that they are both struggling boxers who achieve success.

Both are sports films but Raging Bull is much, much darker and purely a character study.

The cinematography by Michael Chapman and the Film Editing by Thelma Schoonmaker is deserving of accolades and make the picture as flawless as it is.

Scorsese adds enough boxing scenes to showcase the fantastic editing that is required for these difficult scenes. The editing is lightning quick and the thunderous bombast makes the viewer feel each blow of the glove on the skin. The blood and sweat are legendary components of these scenes.

The black and white cinematography is jaw-dropping especially powerful during the kitchen fight scene between Jake and Joey. The brutal buildup is hard to stomach as Jake’s dementia becomes evident.

Despite the other qualities of the film that bring it all together, my favorite aspect is the performance that De Niro delivers, winning him a much-deserved Best Actor Oscar.

He is powerful and animalistic playing both subtle rage and explosive anger. His tragic final act as a much older and fat man is shrouded in heartbreak and pain for both the character and the viewer to experience.

All the pieces of Raging Bull (1980) add up perfectly into a masterpiece. The violence and pain are enshrouded in poetic dialogue and beautiful illuminating camera work exploring one man’s battles and struggles both inside the squared circle and internally.

Oscar Nominations: 2 wins-Best Picture, Best Director, Best Actor-Robert De Niro (won), Best Supporting Actor-Joe Pesci, Best Supporting Actress-Cathy Moriarty, Best Cinematography, Best Film Editing (won), Best Sound

1995 Films, Al Pacino, Ashley Judd, Bud Cort, Crime Thriller, Danny Trejo, Dennis Haysbert, Jon Voight, Michael Mann, Natalie Portman, Robert De Niro, Ted Levine, Thriller, Tom Sizemore, Val Kilmer, William Fichtner

Heat-1995

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Heat-1995

Director Michael Mann

Starring Al Pacino, Robert De Niro, Val Kilmer

Scott’s Review #1,228

Reviewed February 12, 2022

Grade: A-

Fans of the popular 1980s NBC television series, Miami Vice will recall that Michael Mann was the Executive Producer of the show during its run.  He has a distinctive crime thriller style that goes perfectly well with Heat, a sizzling 1995 offering starring two film greats-Al Pacino and Rober De Niro.

The fact that the pair do not appear too often on screen together can be forgiven because when they are the stars align and the power of quiet scenes cannot be outdone. I savored over the moment when they first appeared together. Quality over quantity.

De Niro plays Neil McCauley, a lifelong criminal who is trying to handle damage control caused by one of his men, while also planning one last big heist before retiring to parts unknown. He meets a lovely young Los Angeles-based artist played by Amy Brenneman in a diner and the two plan to relocate abroad.

Meanwhile, Lieutenant Hanna (Al Pacino) is a seasoned officer attempting to track down McCauley and his cohort while dealing with the chaos in his own life, including the infidelity of his wife (Diane Venora) and the unhinged mental health of his stepdaughter (Natalie Portman).

McCauley and Hanna discover mutual respect, even as they try to thwart each other’s plans. The two characters become doppelgangers of one another. The situation comes to a cat-and-mouse-based conclusion on the tarmac of LAX airport.

To say that Heat is a by-the-numbers 1990s thriller is a fair assessment although it’s way better than that classification and it’s of that genre.

For starters, the acting is superior, and obviously, De Niro and Pacino bring a level of professionalism to the film in the lead roles. My favorite scene is not the one you’d most expect me to say but rather a quiet and powerful chit-chat in a small coffee shop. They are rivals, having lived opposite lives, and yet have troubled lives that mirror each other.

Without a doubt, Hanna wants to bring McCauley to justice, and yet he admires him and sees parts of himself in the man. The feeling is mutual and the two actors relay this revelation without actually speaking the words. Viewers immerse themselves into the characters pivoting from this powerful scene.

There are a ton of characters in Heat but each one feels like he or she has much to offer. Juicy storylines are introduced but never forgotten even if not part of the main canvas. Hanna’s wife and stepdaughter play a central part in the final act even though they mainly appear during the first chapter.

In supporting roles, Val Kilmer and Ashley Judd share beautiful chemistry and a melancholy storyline as a damaged couple trying to survive surrounded by a life of crime.

At two hours and fifty-two minutes, there is plenty of time for each character to make their mark.

I love the rich character development that Heat offers but sometimes it’s admittedly tough to keep track of the motivations of the characters and how they tie into the main action.

Mann’s style is all over the place and even the musical score brought me back to the episodic song intervals that Miami Vice created. The moody and dark atmosphere of dingy and crime-infested Los Angeles is perfectly placed against glossy and glamorous high-rise and sprawling estate scenes. The bright and luminous city skyline is a feast for the eyes.

The cop/criminal dynamic is the main draw as Heat flexes its masculine muscles scene after scene. A bloody bank heist gone wrong at the beginning of the film cements what Mann is trying to create here. A guy’s film with enough juice to hook the introspective film viewer too.

Not remembered as well as it probably should be, Heat holds up surprisingly well when put up against similar but hokey 1990s action films like Lethal Weapon and the Die Hard films.

Though there’s not a whole lot that is new in Heat (1995), rich writing and powerful acting win out every time, and of course, Pacino and De Niro are worth the price of admission.

1991 Films, Action, Donald Sutherland, Jennifer Jason Leigh, Kurt Russell, Rebecca De Mornay, Robert De Niro, Ron Howard, Scott Glenn, Thriller, William Baldwin

Backdraft-1991

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Backdraft-1991

Director Ron Howard

Starring Kurt Russell, William Baldwin

Scott’s Review #1,216

Reviewed January 2, 2022

Grade: B

Backdraft (1991) is a highly entertaining yet completely implausible action, thriller film directed by Ron Howard. If made today it would be on par with Chicago Fire or any other of the slew of similar procedural NBC television shows that currently exist.

The film is even set in Chicago just like the television series.

The story involves an arsonist on the loose and the subsequent investigation to catch them.

Howard is an influential and respectable director but his films frequently harbor the safe territory rarely veering too left of center. With Backdraft, I assumed I would get a by-the-numbers masculine film and that is exactly what I received.

The beefy cast includes Kurt Russell, Billy Baldwin (brother of Alec), and Robert De Niro with Jennifer Jason Leigh and Rebecca De Mornay serving as secondary female characters.

Chicago firefighting brothers Stephen (Russell) and Brian (Baldwin) have been rivals since childhood. Brian, struggling to prove himself as a worthy firefighter, transfers to the arson unit where he aids Inspector Don Rimgale (De Niro) in his current investigation. There is a rash of fires involving oxygen-induced infernos called backdrafts.

But when a conspiracy implicating a crooked politician and an arsonist leads Brian back to Stephen, he is forced to overcome his brotherly competitiveness to crack the case.

Anyone involved in their local fire department or who has a strong sense of loyalty or brotherhood in a blue-collar vein will love Backdraft for its message. The strong family unit that shrouds most firehouses or police stations is prevalent throughout the film which brings a united and community feeling.

It’s a nice feeling and sets the tone for the viewer to feel a part of things and root for the heroes to defeat whoever is responsible for the arsons. Could it be an unstable member of the fire community or an outsider harboring a grudge?

The story, despite being somewhat of a whodunit is not the strongest aspect of Backdraft nor much of a reason to tune in and follow. Too often the writing is lazy or languishes in television drama territory with obvious and melodramatic situational setups.

The realism is not there. The fire sequences are completely stagey and meant to perfectly parlay the story elements rather than have an identity of their own.

With all that said, the star of the film is the visuals that give Backdraft its adventure and edge-of-your-seat thrills. Even though I knew the fires and explosions were manipulated I felt like I was inside a burning room with the hissing and crackling sounds of the fire and wind enveloping me.

It’s all for dramatic purposes of course but the state-of-the-art special effects are cool to experience.

This is the key to the success of a film like Backdraft and enough for me to keep watching and become invested in the entire work.

Yes, many characters are types and despite the big A-list stars Russell and Baldwin are the only ones who have much of anything to do. Their brotherly relationship though fraught with friction is at the heart of the characters though sometimes the corny dialogue slips into soap opera territory.

Backdraft (1991) is a cinematic Hollywood mainstream film that works on many levels. Forget the lazy storylines and the predictability factors for a minute. It provides a blazing-hot inferno of sharp visuals that are to be commended and appreciated for their merits.

Oscar Nominations: Best Sound Effects Editing, Best Visual Effects, Best Sound

1977 Films, Bernardo Bertolucci, Burt Lancaster, Donald Sutherland, Drama, Epic, Gerard Depardieu, Period Drama, Robert De Niro

1900 (Novecento)-1977

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1900 (Novecento)-1977

Director Bernardo Bertolucci

Starring Robert De Niro, Gerard Depardieu

Scott’s Review #984

Reviewed January 28, 2020

Grade: A

An epic to rival all epics, 1900 (Novecento) (1977) is a grandiose offering of monumental proportions featuring legendary actors and created by a brilliant director.

With a running time of a whopping three-hundred and seventeen minutes in its original version, 1900 is known for being one of the longest commercially released films ever made.

The cinematography is breathtaking, and the historical values, like friendship, class distinction, and rivalry are outlined and explored in depth.

The key is to let the experience marinate and blossom with a slow and patient build.

Brilliant director Bernardo Bertolucci’s tale follows the lives of two Italian men, a peasant named Olmo (Gerard Depardieu) and landowner Alfredo, (Robert De Niro), both ironically born on January 1, 1900.

Inseparable as children, the two become estranged as their differing social status pulls them apart. Their conflicts mirror the political events in Italy, as both fascism and socialism gained prominence in the country.

Here is a bit of background on the film.

Due to its length, the film was presented in two parts when originally released in many countries, including Italy, East, and West Germany, Denmark, Belgium, Norway, Sweden, Colombia, Pakistan, and Japan.

In other countries, such as the United States, a single edited-down version of the film was released.

The latter is not the way to watch this film. I do not like severely edited films, especially in an epic such as 1900, so the full-length version is highly recommended.

The film opens on April 25, 1945, the day Italy is liberated from the fascists, and this is key to the political message Bertolucci crafts. As peasants revolt against the owner of the land, Alfredo (De Niro), and female laborers wield deadly pitchforks, the resulting ambiance is one of chaos.

We know nothing of Alfredo yet but know enough to realize he is rich and perceived as a tyrant. The natural reaction is to sympathize with them because they are oppressed.

As the film backtracks to the turn of the century, a more elegant scene emerges with the birth of two infants, Alfredo and Olmo. The sequence is sweet, both babies are bright and filled with promise.

Sadly, this is not meant to be.

A railway track is an important addition to the film and one that culminates in the climactic finale.

The most interesting aspect of the film is the dynamic development of Alfredo and Olmo as they grow. Alfredo resents his family’s wealth and sides with Olmo, a socialist. Alfredo sees his family as false and Olmo and his family as genuine.

This aspect is timeless and can be related to by any viewer with any intelligent sense of the world today. The obvious analogy of the haves and have-nots cannot be clearer in this film. Frightening, is that some have-nots are convinced they will one day become the haves.

The messages and feelings that 1900 elicited are emotional and strong. Aren’t all men created equal? On the surface they are, but Alfredo and Olmo are not equal. As the birth scene reveals and as Bertolucci makes clear, they are born with advantages and disadvantages.

These characteristics simply are what they are, and as human beings grow and learn social norms the financial differences become more robust and the humanistic connections weaker.

If the social aspects of the film or the brilliant cinematography are not enough to please a viewer, the historical lessons presented are second to none. One can revel in the political and historical excitement that existed in Europe throughout the forty-five years in which the film is set.

I wish Hollywood made more films like this.

1900 (Novecento) (1977) can be enjoyed as both a grandiose dramatic period piece, revered for its majestic and flourishing design style, or as a thought-provoking message film, about the unresolved social class distinctions that exist in the world.

I found the film a treasure that works on all levels and showcases just how good a director Bertolucci is.

This film is not his best-known work, but for fans of cinema as an art form, this is a must-see.

1976 Films, Albert Brooks, Cybill Shepherd, Harvey Keitel, Jodie Foster, Martin Scorsese, Robert De Niro, Thriller

Taxi Driver-1976

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Taxi Driver-1976

Director Martin Scorsese 

Starring Robert De Niro, Cybill Shepherd, Jodie Foster

Scott’s Review #776 

Reviewed June 20, 2018

Grade: A

It is incredibly tough to choose a favorite of all Martin Scorsese films since nearly all of them are incredibly well made.

Goodfellas (1990), Raging Bull (1980), and Taxi Driver (1976) immediately come to mind. Taxi Driver may be Scorsese’s darkest film of all.

The thriller is intense, dangerous, and ferocious led by a riveting performance by Robert De Niro- a regular in the director’s earlier films. The film is nail-biting and compelling and a great, character-driven watch.

Set in the bustling and (at that time) decrepit New York City shortly following the Vietnam War, Travis is a veteran suffering from some degree of post-traumatic stress disorder. Lonely and angry, he works as an overnight taxi driver who falls for a snooty presidential campaign worker, Betsy, (Cybill Shepherd).

He also forges a relationship of a protective nature with an underage prostitute, Iris, (Jodie Foster). As he gradually spirals out of control due to the unhappiness surrounding him, he plots to kill Betsy’s boss while protecting Iris from her pimp (Harvey Keitel).

One great aspect of Taxi Driver is the insanely good performance by De Niro. Along with the later role of Jake LaMotta in Raging Bull, that and his role of Travis Bickle are my two favorite roles of his. With Bickle, he is unpredictable, on edge, and angry, as De Niro infuses the character with those qualities in a seamless fashion.

As he teeters on the brink of insanity and is ready to snap at any given moment, the character is impossible not to watch with both fear and marvel. De Niro is that brilliant. 

While not to be outdone by the aforementioned negative and dangerous qualities, Travis also possesses a few benevolent traits making the character complex. In large part, this comes into play with the protective nature he develops towards Iris.

Almost like a big brother/kid-sister dynamic, the deranged man treats her with kindness rather than taking advantage of her as he easily could have. The diner scene the two actors (De Niro and Foster) share is rich with interesting dialogue and bonds the characters together.

Travis also harbors love and hate emotions towards Betsy (Cybill Shepherd). As she is a political volunteer for a potential presidential candidate, Travis first encounters her by way of spying on her through large glass windows where she works.

Coaxing her to accept a date, they have coffee and eventually attend a film together. Betsy is offended since the film is pornographic and their date goes south fast. After a vicious showdown between the pair at the campaign office, Travis goes off the deep end and plots revenge.

The gritty atmospheric approach that Scorsese provides when filming Taxi Driver is an enormous highlight of the film. Dingy, dark, and dangerous, the director creates ample scenes showing just how seedy New York City was in the 1970s.

Working the night shift, sure to bring out the rancid and most decaying elements of the city, Travis experiences many cretins and undesirables in his work- and arguably is one of them! Many scenes feature the notorious 42nd Street and its accompanying porn theaters that made New York City famous (or infamous!) at the time.

In one of the film’s most frightening (and best) scenes, Travis can get his hands on a gun. He practices drawing his weapon in the mirror repeatedly uttering the famous line “You talkin’ to me?” as we wonder if he will pull the trigger.

The scene is fraught with cerebral tension and quite frightening. Later, when Travis shaves his head and brandishes a mohawk, his new look is downright terrifying.

Scorsese creates a dark world that is enriched by his incredible cinematography and astounding representation of interesting characters in dangerous and unstable times.

Taxi Driver (1976) is a treasure to watch closely and appreciate as a timeless piece of art. Instead of decaying in the vaults of cinema, the film gets better and better with age.

Oscar Nominations: Best Picture, Best Actor-Robert De Niro, Best Supporting Actress-Jodie Foster, Best Original Score

2010 Films, Action, Camp, Cheech Marin, Danny Trejo, Don Johnson, Ethan Maniquis, Jessica Alba, Lindsay Lohan, Michelle Rodriguez, Robert De Niro, Robert Rodriguez, Steven Seagal, Tom Savini

Machete-2010

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Machete-2010

Director Ethan Maniquis, Robert Rodriguez

Starring Danny Trejo, Robert De Niro, Jessica Alba

Scott’s Review #501

70125125

Reviewed October 28, 2016

Grade: B

Machete (2010) is a clear, fun homage to exploitation films of the 1970’s movies, directed by Robert Rodriguez (a protege of Quentin Tarantino) and quite heavily influenced by his mentor.

It very much resembles a Tarantino film with the comic, over-the-top elements, and the violence, but is somewhat less compelling in the story department, and lacks the crisp, rich storytelling.

It tells the story of a Mexican ex-Federale (named Machete) involved in a plot to kill a corrupt United States Senator (played by Robert De Niro).

He attempts to flee Mexico for Texas, is shot, and spends the remainder of the film vowing revenge on his assailants.

Machete contains many celebrity cameos and is fun to watch- in a light way. The film is not intended to be looked upon earnestly.

For the interested, you also get to see Lindsay Lohan topless.

The film is a fun, violent, popcorn flick, with a nice political message, but if interested in these types of movies, rent Grindhouse: Planet Terror (2007), which is a better experience.

1997 Films, Bridget Fonda, Crime Drama, LisaGay Hamilton, Michael Keaton, Pam Grier, Quentin Tarantino, Robert De Niro, Robert Forster, Samuel L. Jackson, Scott's Top 100 Films, Tony Curtis

Jackie Brown-1997

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Jackie Brown-1997

Director Quentin Tarantino

Starring Pam Grier, Robert Forster

Top 100 Films #92

Scott’s Review #356

60010514

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

1990 Films, Best Film of the Year, Biography, Crime Drama, Joe Pesci, Lorraine Bracco, Martin Scorsese, Michael Imperioli, Mob, Paul Sorvino, Ray Liotta, Robert De Niro, Samuel L. Jackson, Scott's Top 100 Films, Tobin Bell

Goodfellas-1990

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Goodfellas-1990

Director Martin Scorsese

Starring Ray Liotta, Robert De Niro, Joe Pesci

Top 100 Films #89

Scott’s Review #349

70002022

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

1984 Films, Best Film of the Year, Burt Young, Crime Drama, Danny Aiello, Drama, Elizabeth McGovern, Epic, Estelle Harris, James Woods, Jennifer Connelly, Joe Pesci, Mob, Robert De Niro, Sergio Leone, Treat Williams, Tuesday Weld

Once Upon a Time in America-1984

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Once Upon a Time in America-1984

Director Sergio Leone

Starring Robert De Niro, James Woods

Scott’s Review #218

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Reviewed January 19, 2015

Grade: A

An epic film, the extended directors cut at more than four hours in length, 1984’s Once Upon a Time in America is a film directed by Sergio Leone, who also directed the 1968 masterpiece Once Upon a Time in the West and numerous other westerns starring Clint Eastwood.

This particular film is in a different vein and not to be confused as any sort of sequel or related to the aforementioned film- this time Leone explores the crime drama genre rather than the western and does so in remarkable fashion.

The film tells the story of a group of Jewish friends who became involved in organized crime during the 1920s in New York City.

The main story is told via flashbacks as the central character, Noodles, played by Robert De Niro, returns to Brooklyn thirty years later to reunite with his former mobster friends.

In this way, the film is sectioned- the group of youngsters and kids and the same characters as adults.

Once Upon a Time in America has been met with much controversy since it was made. At the time of its release, the film was butchered as over an hour of footage was cut by the studio heads making the film largely uneven.

Fortunately, the restored version, at over three hours in length, is available for viewing. Furthermore, the director cut clocks in at well over four hours, and is the best version to watch. Due to so many cuts, other versions appear shoddy and out of order making the viewing experience difficult.

Once Upon a Time in America is largely underappreciated except for the die-hard cinema lovers most patient with the film, and deserves mention as an excellent crime epic drama.

The film contains many similarities to The Godfather and The Godfather Part II and the role De Niro plays is not too different from Vito Corleone in Part II.

However, the greatest contrast is that Once Upon a Time in America is more visually artistic than The Godfather films.

The film centers mainly on Noodle’s perspective as he enjoys youth in the Lower East Side of Manhattan where he meets his group of lifelong friends.

The focal point is his friendship with Max, the adult character played by James Woods, and his undying love for Deborah, played by Elizabeth McGovern as an adult.

As kids, they are worry-free, but gradually fall in with a group of older mobsters, first doing their dirty work, followed by venturing out on their own.

The themes of the film are loyalty, childhood friendship, betrayal, and greed as all of the characters change (or die) in the time that the film takes place.

When a mysterious letter forces Noodles to resurface in Brooklyn, we begin to understand the back story and the history between the friends as layers are slowly peeled back.

The film drags slightly in the middle section, but the first part and last parts are very well-made and absorbing.

Leone has a way of pacing the film that works- it is methodical, and nuanced, with wonderful set pieces and each period explored- 1920s, 1930s, and 1960s seem equally as authentic as the next one does.

I especially enjoyed the 1920s art direction- it revealed such a state of genuineness and felt like truly there in that period.

The relationship between Noodles and Deborah is an interesting one worth mentioning. Falling in love as youngsters (when Deborah was played by a very young Jennifer Connelly) they had an innocent, puppy-love relationship.

As adults, due to a violent, disgraceful act, their tender relationship is subsequently ruined and one might argue one of the characters turns quite unsympathetic.

Once Upon a Time in America (1984) is a sprawling epic film sure to be enjoyed by intelligent fans of the crime epic drama genre and specifically Sergio Leone fans- an underappreciated gem.

1974 Films, Al Pacino, Best Film of the Year, Best Picture Oscar Winners, Danny Aiello, Diane Keaton, Drama, Epic, Francis Ford Coppola, Harry Dean Stanton, James Caan, John Cazale, Mario Puzo, Mob, Robert De Niro, Robert Duvall, Scott's Top 100 Films, Talia Shire

The Godfather: Part II-1974

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The Godfather: Part II-1974

Director Frances Ford Coppola

Starring Al Pacino, Robert DeNiro

Top 100 Films #3

Scott’s Review #197

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Reviewed: November 25, 2014

Grade: A

Frances Ford Coppola’s sequel (and technically also a prequel) to the highly regarded and successful The Godfather (1972) is one of the rare sequels to equal and even surpass the original in its greatness, creativity, and structure.

The Godfather Part II (1974) feels deeper, more complex, and ultimately richer than The Godfather- and that film itself is a masterpiece. Part II is much darker in tone. Ford Coppola had complete freedom to write and direct as he saw fit with no studio interference.

The results are immeasurable in creating a film masterpiece.

The film is sectioned into two parts, which is a highly interesting and effective decision.

The story alternates between the early twentieth century following Don Corleone’s life, now played by Robert DeNiro, as his story is explained- left without a family and on the run from a crime lord, Don escapes to the United States as a young boy and struggles to survive in the Little Italy neighborhood of New York City.

He obtains a modest job as a grocery stockboy and finally celebrates his eventual rise to power in the mafia.

The other part of the film is set in 1958 as Michael Corleone is faced with a crumbling empire, through both rivals and the FBI- investigating him and holding Senate committee hearings in Washington D.C., and a failing marriage to Kay (Diane Keaton).

Betrayal is a common theme of the film from Michael’s wife, brother, and mobster allies revealed to be cagey enemies. Michael grows uncertain and mistrustful of almost everyone surrounding him. Is Kay a friend or foe? Is Fredo plotting against him? He even begins lashing out at Tom Hagen on occasion.

What makes The Godfather Part II so brilliant, and in my opinion richer than The Godfather, is that it is tougher to watch- and that is to its credit. Now, instead of being a warm, respected member of a powerful family, Michael is questioned, analyzed, and betrayed.

New, interesting characters are introduced- Hyman Roth, played by Lee Strasburg, a former ally of Don’s, and Frankie Pentangeli, played by Michael V. Gazzo are intriguing characters and their allegiances are unknown throughout most of the film- are they loyal to the Corleone’s or deadly enemies?

The character of Michael goes from conflicted to all-out revenge-minded, including revenge sought on members of his own family. Michael is now a dark, angry character- gone is the nice, decorated war hero with his whole life ahead of him. He is much older and a changed man.

Similar to the original Godfather, the opening scene is a large celebration- this time Anthony Corleone’s first communion celebration. Also in comparison, the finale of the film involves major character deaths one after the other.

Unique to this film are the multiple location scenes- New York, Nevada, Italy, Florida, and Cuba are all featured making for an enjoyable segue throughout and a bigger budget.

The blow-up confrontation between Michael and Kay is devastating and shocking in its climax. When Michael punches Kay in a sudden rage, the audience also feels punched.

The wonderful scene at the end of the film with the entire family gathered around for Don’s fiftieth birthday in 1942 is a special treat for viewers; familiar faces make cameo appearances.

I love these aspects of the film.

The rich history of Don is the greatest aspect of The Godfather Part II simply known as “Godfather” and patriarch of the family, his life as a boy and young father are explained so we see how he became one of the most powerful men in the crime world.

I love how he remains a decent man and helps the poor and the victims of ruthless Don Fanucci, his predecessor. He loves his wife and children, but also loves his neighbors, and helps them, believing in fairness.

Ultimately, the characters of Don and Michael are worlds apart.

The Godfather Part II (1974) is one of the most complex and well-written films in movie history- studied in film school, discussed, imitated, and championed. It remains vital and should be viewed and analyzed again and again and again.

Oscar Nominations: 5 wins-Best Picture (won), Best Director-Francis Ford Coppola, Best Actor-Al Pacino, Best Supporting Actor-Robert De Niro (won), Michael V. Gazzo, Lee Strasberg, Best Supporting Actress-Talia Shire, Best Screenplay Adapted from Other Material (won), Best Original Dramatic Score (won), Best Costume Design, Best Art Direction (won)

2013 Films, Amy Adams, Bradley Cooper, Christian Bale, Colleen Camp, Comedy, Crime Drama, Dark Comedy, David O. Russell, Drama, Jennifer Lawrence, Jeremy Renner, Louis C.K., Michael Pena, Robert De Niro

American Hustle-2013

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American Hustle-2013

Director David O. Russell

Starring Christian Bale, Bradley Cooper, Jennifer Lawrence

Scott’s Review #39

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Reviewed June 18, 2014

Grade: A

Having seen American Hustle (2013) a month ago and finally getting around to reviewing it, it’s a perfect time as a slew of Oscar nominations has been reaped upon it, thus, undoubtedly more people will be seeing it in the weeks ahead.

I loved this film.

Some were underwhelmed, but I found it quite authentic and stylish.

I loved the 1970’s period and felt the hairstyles, clothes, and props were spot on.

I also felt the film had great acting and, though I’m not a fan, Jennifer Lawrence enraptured me. The same with Cooper, Bale, and Adams, who all deserve their Oscar nods.

I found it similar in style to Boogie Nights, a 1997 masterpiece directed by Paul Thomas Anderson.

The 1970s musical rock score was perfect. The subject matter of political corruption and cat-and-mouse intrigue was effective and resounding.

Oscar Nominations: Best Picture, Best Director-David O. Russell, Best Actor-Christian Bale, Best Actress-Amy Adams, Best Supporting Actor-Bradley Cooper, Best Supporting Actress-Jennifer Lawrence, Best Original Screenplay, Best Production Design, Best Costume Design, Best Film Editing