Ultimate Gangster Collection

ScarfaceAmerican Gangster:
A slow burning, yet entirely gripping, mobster film, American Gangster pits Denzel Washingtons Frank Lucas against Russell Crowes law enforcer Richie Roberts. Spread over a necessarily prolonged running time, their story is then brutally, expertly, told.
And while American Gangster isnt in the league of prime Scorsese and Coppolla classics (such as Goodfellas and The Godfather), its the nearest weve come in quite some time to something of that ilk. Its all based on a true story, which does mean you need to forgive it some of its obvious narrative conventions, yet this also lends it a gravitas that the film eagerly makes the most of.
Its great too to see British director Ridley Scott tackling meatier material again. This is the man, after all, who gave us Blade Runner, Alien and Gladiator, and he duly delivers with American Gangster. His finest work it isnt, but an engrossing, explosive and hard-as-nails drama it absolutely is.
Whats more, American Gangster is powered by two of the finest leading man working in Hollywood right now, and its terrific to see Washington and Crowe on top form here. And while in cinematic terms its hardly a film that treads new ground, its nonetheless a proper, grown-up and engrossing movie, and a very good one at that. –Jon Foster
Carlito’s Way:
Al Pacino cuts a noble figure in this very enjoyable drama by director Brian De Palma (Scarface), based on a pair of books by Edwin Torres. Pacino plays a Puerto Rican ex-con trying hard to go straight, but his loyalty to his lowlife attorney (a virtually unrecognisable Sean Penn) and enemies on the street make that choice difficult. Penelope Ann Miller plays, somewhat unlikely, a stripper who has a romance with Pacino’s character. The film finds De Palma tempering his more outlandish moves (think of Body Double or Snake Eyes) just as he did with the popular Untouchables and Mission: Impossible. But while Carlito’s Way was not as commercially successful as those two movies, it is a genuinely compelling work graced with a fine performance by Pacino and a surprising one from Penn. –Tom Keogh
Casino:
Director Martin Scorsese reunites with members of his GoodFellas gang (writer Nicholas Pileggi actors Robert De Niro, Joe Pesci and Frank Vincent) for a three-hour epic about the rise and fall of mobster Sam “Ace” Rothstein (De Niro), a character based on real-life gangster Frank “Lefty” Rosenthal. (It’s modelled on Wiseguy and GoodFellas and Pileggi’s true crime book Casino: Love and Honour in Las Vegas.) Through Rothstein, the picture tells the story of how the Mafia seized, and finally lost control of, Las Vegas gambling. The first hour plays like a fascinating documentary, intricately detailing the inner workings of Vegas casinos. Sharon Stone is the stand out among the actors she nabbed an Oscar nomination for her role as the voracious Ginger, the glitzy call girl who becomes Rothstein’s wife. The film is not as fast-paced or gripping as Scorsese’s earlier gangster pictures (Mean Streets and Good Fellas) but it’s still absorbing. And, hey–it’s Scorsese! –Jim Emerson
Mean Streets:
After Martin Scorsese went to Hollywood in 1972 to direct the low-budget Boxcar Bertha for B-movie mogul Roger Corman, the young director showed the film to maverick director John Cassavetes and got an instant earful of urgent advice. “It’s crap,” said Cassavetes in no uncertain terms, “now go out and make something that comes from your heart.” Scorsese took the advice and focused his energy on Mean Streets, a riveting contemporary film about low-life gangsters in New York’s Little Italy that critic Pauline Kael would later call “a true original, and a triumph of personal filmmaking.” Starring Robert De Niro and Harvey Keitel in roles that announced their talent to the world, it set the stage for Scorsese’s emergence as one of the greatest American filmmakers. Introducing themes and character types that Scorsese would return to in Taxi Driver, GoodFellas, Casino, and other films, the loosely structured story is drawn directly from Scorsese’s background in the Italian neighbourhoods of New York, and it seethes with the raw vitality of a filmmaker who has found his creative groove. As the irresponsible and reckless Johnny Boy, De Niro offers striking contrast to Keitel’s Charlie, who struggles to reconcile gang life with Catholic guilt. More of an episodic portrait than a plot-driven crime story, Mean Streets remains one of Scorsese’s most direct and fascinating films–a masterful calling card for a director whose greatness was clearly apparent from that point forward. –Jeff Shannon
Public Enemies:
Since crime auteur Michael Mann, like his protagonists, plays by his own rules, Public Enemies eschews back story and motivation for a closely-observed, action-packed examination of men at work. FBI supremo J. Edgar Hoover (Billy Crudup) kick-starts a nationwide manhunt when he proclaims John Dillinger (Johnny Depp, in top form) Public Enemy #1. Hoover taps Agent Melvin Purvis (Christian Bale) to bring the Tommy Gun-toting bank robber in by any means necessary (the agency also targets Pretty Boy Floyd and Baby Face Nelson). If Dillinger had split the scene then and there, he might have enjoyed a happier fate, but he falls for beautiful coat-check girl Billie Frechette (Marion Cotillard, whose open-hearted performance makes her the most sympathetic character in the film). In the end, though, Dillinger is the captain of his own destiny: his loyalty to his girl and his gang overpowers his desire to live free. Though the director also set his first film, Thief, and third series, Crime Story, in his native Chicago, Public Enemies plays more like Heat in Depression-era garb. In that L.A. policier, Al Pacino’s cop develops a grudging respect for Robert De Niro’s criminal, but letting a lawbreaker go free isn’t an option. In this case, however, the tight-lipped Purvis never develops the same sort of esteem for Dillinger–or Hoover–making him the more tragic figure. If Public Enemies is less overtly commercial than The Untouchables or Bugsy, it’s still the best mainstream gangster epic in ages and ranks among Mann’s finest works. –Kathleen C. Fennessy
Scarface:
This sprawling epic of bloodshed and excess, Brian De Palma’s update of the classic 1932 crime drama by Howard Hawks, sparked controversy over its outrageous violence when released in 1983. Scarface is a wretched, fascinating car wreck of a movie, starring Al Pacino as a Cuban refugee who rises to the top of Miami’s cocaine-driven underworld, only to fall hard into his own deadly trap of addiction and inevitable assassination. Scripted by Oliver Stone and running nearly three hours, it’s the kind of film that can simultaneously disgust and amaze you (critic Pauline Kael wrote “this may be the only action picture that turns into an allegory of impotence”), with vivid supporting roles for Steven Bauer, Michelle Pfeiffer, Mary Elizabeth Mastrantonio, and Robert Loggia