I thought Heat was my favorite work by Deniro but since Casino is now Netflix I just want to applaud the man despite many accolades and great work. But if you had to pick one over the other, which did you enjoy more out of the two. Deniro in Heat or Deniro in Casino. I hope this would be a difficult question for you guys.
Golden Nugget (Atlantic City) Commercial With Fake Million Dollar Check
There is this relatively recent commercial that plays constantly on News 12 New Jersey for the Golden Nugget in Atlantic City, NJ. It probably plays in PA and NY as well and is for online gambling (New Jersey allows it, but you technically have to be physically in the state). The owner is on a virtual Zoom call (evidently recorded during COVID-19) and is announcing in an almost passive aggressive and mocking tone, to paraphrase, that "I hate to give up a million dollars, but I am so happy that a long time customer is getting this". He then "hands" over a fake million dollar check to a very bloated but clearly content gambler. When you see this guy's tone and demeanor, especially his fake and nearly sarcastic "I am so happy", he comes across as almost threatening and menacing, like he is Robert Deniro in "Casino", wagging his finger and smirking while implying, "You mutha-####, you got me dis time, enjoy it while it lasts, you fat bastard." I do not know what viewers are supposed to take away from the commercial. A guy who is a "long time" gambler, who sort of looks it, too, "just" won a million dollars. The guy probably lost close to as much money as "a long time" gambler. The owner clearly tries to vocally emphasize that he is happy that a "long time customer" won, implying that some schmo who wins on his first try will clearly tick off the owner. He is almost saying, "I want the habitual gamblers to come here, and if they happen to win, I will be ok with it just once, but don't push your damn luck." When he says he is "so happy", he is clearly anything but happy based on the tone of his voice. What is odd is that with a commercial you get many takes to get it right. This looks like it was done on one take and the guy was doing a bad job hiding his displeasure. I understand that Golden Nugget probably has many "million dollar winners" and the guy isn't going to cry about that every time someone happens to win. But he really does come across as if he is in emotionally retching pain telling the guy he's getting a million dollars. I have also read that entrepreneurs are extremely thrifty and many will actually bemoan the loss of even small amounts. In any case, the commercial does not present anything novel or interesting about the casino, while really showing more about the owner, who comes off as bitter and even angry. Maybe they were trying to show a "personal side" to the owner? Maybe he was aiming to come across as a "buddy" to gamblers who is "in it for them". But that is clearly not what came across. Had the owner wanted to appeal to (1) the public at large or (2) long time gamblers more specifically, he could have done the same thing but avoided the unnecessary commentary where he says "I am so [effin] happy". But his face, tone, and demeanor all say "I am so unhappy". A lot of these people don't realize that people are not stupid and they can tell when they are being told a lie. Narcissists, in general, are bad at realizing that people can see their lies through them, because they think that people buy into all of their b.s. I am not sure if the guy is a narcissist or not but he must have thought, looking at the finished product, that "Damn, that looked good", which clearly it did not.
As a young man, Stephen Miller styled himself after his favorite mobsters. He repeatedly dressed up like Robert DeNiro's character in "Casino" on trips to Las Vegas, his favorite place. He wore a golden pinkie ring and slicked back his hair, polo shirts and button-downs with nice pants and a jacket.
In Casino, what is the significance of Robert Deniro's character not wearing pants when he meets the county commissioner?
I was watching Casino yesterday and I found it odd that Robert Deniro's character (Sam Rothstein) wasn't wearing pants in his office before he met with the county commissioner. In my first couple views, I didn't think anything of it, but now I'm thinking that it's really out of character for him. Is there some significance to that or is it just supposed to be funny? Edit: Here's the scene I'm referring to: https://www.youtube.com/watch?v=-L5Zx34mjUU Edit 2: Thanks everyone for your responses. It sounds like the reason was to keep his pants/coat from getting wrinkled. Thanks to g2f1g6n1 for getting a source!
I'm going through a binge run of sorts of Martin Scorsese films that I haven't seen that are leaving Netflix soon:
The others that I've seen previously are:
Wolf of Wall Street
I'm mentioning this just to give you an idea of what films I've seen of his. My favorite although I haven't seen it in a while was Shutter Island. I'm noticing that at least 4 of the films I've seen are crime/mafia related. And I think a few others I haven't seen may touch on the genre: Casino and Gangs of New York. He's made 25 full-length films so let's say 6 out of 25 are crime related. The reason I point this out is that as I was watching some and thinking back on some of these films, I can't help but think of actors that are typecast for certain roles. I'm not sure if there's an equivalent for directors. But I have a strong association with crime films and Martin Scorsese. Any idea what motivated him to make films that touch on a similar genre? Keep in mind, I might not be making a fair assessment and maybe he's a bit known for his non-crime films. The films I've seen recently are much fresher in my mind than the others, but I noticed there's a certain pattern to how scenes are filmed. There's just this super close up to the main character that he often does. I feel like I've seen Robert DeNiro up close too much. In some ways, I found it a bit distracting. I don't think this is particularly something only he does as a director. It's just something I noticed in his earlier films. Anyone who's watched his films thoughout the years as they've come out, have you noticed a particular change to his style of filming? Or would you say that he's pretty adaptable and changes things up based on the story? He does seem to really enjoy playing with lighting depending on what's happening in the scene. Taxi Driver really captured this I thought especially in the dark gritty New York that's shown. It's been a while but I vaguely remember a similar play on lighting in Shutter Island. And just one aside, but why did he have Robert DeNiro kiss a young Juliette Lewis in Cape Fear? In the movie she's 16 which was disturbing enough. Left me quite uncomfortable. Then I had to look into it further because she looked really young. In real life she had turned 18 yrs old on June 21 and the film released November 15 meaning she was potentially underage when that scene was shot. Anyways this may all seem a bit all over the place. What I was hoping to get is to generate some discussion as to what others like or dislike about his films and why you think he's been so successful?
film was adapted from 'Clockers' by american author Richard Price. Directed by Spike Lee. this movie plays out like Spike Lee doing an episode of Law & Order or CSI . Hard nosed who dunnit although all the clues point to the hard working family man Isaiah Washington (very underrated actor) for another routine night shooting near Brooklyn Nelson Mandela Projects which serve as the main backdrop for our story. As always Spike does a phenomenal job using the NY sights and sounds to tell his story as much as our characters. Harvey Keitel (perfect choice, rumor has it Robert Deniro was set for the role but was busy filming Casino), John Tutturro (underused) are the homocide or homo-cide detectives assigned with the case. Strike (Mekhi Phifer) is he main character as he is dealing with his brothers incarceration, health issues (kind of over the top) affinity for trains (hates sports), his boss (Delroy Lindo, always great), It's a good socio-economic viewpoint on how certain youth are burdened by circumstance to their environment. All the varied characters are doing what they can to survive. No moral conclusion either as the beat goes on. Spike usually has a unique voice in good trumping evil in his films. More digestible than some of Spikes earlier work to a certain audience. The cast is fantastic as well.
What scene that really disturbed you? Not your first horror movie scene but when you felt that pit of fear in your stomach?
For me I think it had to have been the Pen-scene from Casino, the shootout from Heat or seeing the Omaha beach scene from SPR for the first time. In no particular order they were my first run in with violence on film that was treated realistically, I'd see Boys Don't Cry later on and that was disturbing but it wasn't the first scene that really got me. Anyways I think Heat as a kid I remember seeing the shootout, Val Kilmer firing at the cops on each side and as a 4 year old I thought that it was disturbing seeing the cops just die and lose like ordinary people, and seeing the skilled bad guy just win, my mom was watching it and I sat down to watch that scene and I just remember thinking about how "wow the bad guys win" as the cops all kept going down. Plus I'm sure the gunsounds had an affect on me, I remember being very emotionally overwhelmed, not crying or anything just angry that they couldn't hit or kill Val Kilmer or Deniro. And one by one each cop was going down. My childmind of "Good vs bad" was being rocked and I couldn't handle it. Then there's Saving Private Ryan, when that ramp dropped, and I saw the bullet hole and the blood, I knew there was something different. Every shootout I was shown, every little bit of violence I saw before, all of it merited in some way, no consequences, no cause and effect, people get knocked over, no bullet wounds, or maybe it's fun to watch. But not Saving Private Ryan. Suddenly bullets tear through these men who they familiarize us with, giving us the cliche war movie looking types, mixing in with our heroes, adding a "anybody" can die feeling. And that's what happens. It's gore, it's fear, it's people screaming for their mom's as they realize they'll never go home, they'll die on this beach in fear and terror. Ignored by your friends and condemned by the enemy. The violence had actual change to it, and not only that, it was very random, it didn't care, people who lived and who died was just a simple matter of standing here at this moment or leaning here at that moment. People were safe one second then a bullet would hit them in the head randomly and they were gone forever. Explosions left people without limbs, screaming, blood everywhere, there was no fire to just make it all go away in a stylistic fashion, and when we do see fire it's another horrific reality of being a flamethrower on that beach, the paranoia of carrying that thing, some soldiers unwillingly due to not being able to get the strap off before reaching the sea-wall. Casino's pen scene, Scorsese can just film violence like you're in the room with the people, and the way he has the setting be a normal place, a bar, or diner, a place we've all seen before in Americana gothic fashion, it's a party scene and normal and with a foil exchange between a considerate Deniro and a very unlucky fake tough guy, the way Pesci just takes the pen, Scorsese doesn't hesitate on making us know what we're seeing until it's going down, the stabbing and screaming of the man as more and more holes are made in his throat causing him to gurgle and whistle through the holes in his neck. The close ups that let us know how deep this is. The randomness of the stabbing. The sadism of Nick Santoro as he calls him a little girl as he reverts back to a child as he cries thinking he's about to die. It's like a stabbing in prison or something, you feel like you don't want to be there but you're in the cellblock with the other inmates and this horrible shit is something I have to witness. The music doesn't cut, it adds to the reality, the same way a tv doesn't stop playing, something terrible happens and there's always something that tells us that normality is still going on for someone somewhere. I remember Scorsese saying he remember seeing violent things and hearing a radio from an open window and how it was so surreal, and him seeing The Public Enemy (1931) where James Cagney's family thinks he's coming home but he's dead and his body is being dumped and as they discover his body the happy music they put on for him doesn't stop playing. This realization is what inspired him to start using counterpoint music to express some horrific moments in his films. But yeah I was just thinking.
Maybe this is a hot take, or maybe this is as vanilla as missionary. I don't know. But I want to preface this by saying that I love "Goodfellas," and I enjoy watching clips of "Casino" all the time on YouTube. Al Pacino is probably my second favorite actor (Denzel wins top honors from me), and I respect DeNiro. Also, Pesci coming back is really cool. That said, "The Irishman" was definitely not a masterpiece. Don't get me wrong, it was a great movie. And for someone who loves gangstemafioso movies it was a wet dream. But looking back on it from a technical standpoint it left me wanting more. The soundtrack felt very limited. Remember that track that played when Bugs choked out the guy in the car (Da da da da, da da da da, daaaaaaaa)? I'm a huge proponent of recycling but this felt criminally overused. Also, keeping track of exactly where we are sequentially was a mess at times. This is largely due to the limitations of the de-aging software used, but it is still something worth noting. Funnily enough, the DeNiro beatdown travesty went unnoticed by me on first watch. I don't think that it was that big of a deal. Sometimes the scenes felt disjointed. I can't give any specifics now, but instead of feeling like each scene seamlessly transitioned into the next, the flow felt, at times, comparable to a Flip-o-Rama. Ultimately, it was definitely a solid movie, and it was certainly enjoyable for what it was. Despite my remarks, it was one of my all time favorites. That said, it was certainly no masterpiece.
There is a scene in Casino where Sam Rothstein fires Don Ward, the Slots Manager, after three people win jackpots over the course of 20 minutes. https://www.youtube.com/watch?v=JcZHSGyos6g During that scene Robert DeNiro says "I'm firin' you. No, I'm not firing you, I'm firin' you!" After he says that he gives this look that makes me think that he messed up the take and thought they were going to shoot the scene again, but they left that in. Was that scripted or did he actually think he messed up after that line but they just left it in?
[TOMT][TV or Movie]Pretty sure the genre is crime (i.e., gangster... probably Italian American/mafia). A character says, "what? You think [Don] Rickles is the only one who can make jokes?" More details in main post.
Hi, This has been driving me crazy for the last week. I'm thinking of a scene from a tv show or a movie. I feel strongly that it's from the crime genre. A character (and I really, really, really suspect it's one played by Bobby Cannavale) rhetorically asks, "what? You think Rickles is the only one who can make jokes?" but then I'm thinking - in what movie did Bobby Cannavale ever play a character in the same time period as Don Rickles? Now, the Irishman comes to mind immediately since there was definitely someone playing a younger Don Rickles. But then again, Bobby didn't have that many lines in The Irishman (he played such a minor character; the scene I have in mind gives me the impression that it was uttered by a major character). Is it possible I'm mixing up Bobby Cannavale with Joe Pesci in other crime fiction? Could it be... Casino? But that's unlikely, too, because Don Rickles himself plays a character in Casino (i.e., Robert Deniro's lackey). It's driving me crazy. Where am I remembering this line from? I feel like the delivery is reminscent of Bobby Cannavale's character from HBO's Boardwalk Empire (i.e., Gyp Rosetti) but there was DEFINITELY no Don Rickles in the 1920s! Argh!
What's the history of your Hobby ? How did your biggest Hobby become your Hobby ?
As in : What was your moment when you noticed "Hey, this could really be awesome as a full-fledged hobby, this is something that I can have a lasting interest in ? My main Hobbys are primary Movies, Film & Cinema, as well as Manga & Anime. Fair Disclaimer : This is going to be way to long, I don't really expect anyone to read through all of it. More than anything I wrote that for myself, I just felt an itch that I needed to type that all out for once. For me it was when I first watched Raiders of the Lost Ark (1981) and Die Hard (1988). I had watched them both within the same week for the first time. But before I can talk about that, I have to go back a little further. Up to this point I had only watched Disney Cartoons (Mickey Mouse, Donald Duck, Goofy), Disney Movies (pretty much ALL the animated Disney classics + some Pixar, I guess). Parallel to watching a lot of Disney stuff, I also read many many Disney Comics starring Mickey Mouse, Donald Duck, Goofy, Pluto and Many More (Here in Germany Disney Comics are pretty famous and well known). And I watched A LOT of Anime (Shonen). And I mean a lot. My biggest Anime fandoms where no doubt Pokemon, Digimon, Dragon Ball, One Piece, Yu-Gi-Oh, Detective Conan and Inu Yasha. Of all these Animes, I had also read the Mangas. Later on, when I started to read more manga (including reading rough scanlations online) and watching anime subbed online, I got into Naruto, Shaman King, Hunter X Hunter, Bleach and Death Note. AND - what's important - even before I watched real movies I was pretty damn big on CLAMP X/1999, Cowboy Bebop, Hellsing, Gantz, Trigun and a couple more I don't recall (Speed Grapher, Trinity Blood ?) ... So more mature stuff was not unheard of to teenage me. I also was a huge Nintendo Fan : Super Mario, Yoshi, Donkey Kong, Mario Kart, The Legend of Zelda, Metroid, Star Fox, Pokemon, Kirby, F-Zero, Super Smash Bros. - you name it, but this is a whole different story altogether. I only ever owned Nintendo videogame hardware though and I exclusively played major Nintendo IP's. Never had a PlayStation, never wanted one. Yeah, I guess you can say I had picked my side. Anyway, back to films : The only live action films I had watched up to that point were superhero comicbook adaptations (DC Comics & Marvel Comics). I still watch those to this day, and I like them well enough, but I always knew and always felt that thes were just adaptations of a much bigger comic-universe and that there was verd little intrinsicly cinematic about then. Of course, with the advent of the Jaggernaut that is the MCU that has changed to a certain degree. It's kinda hard to say why I was so wild for the Donner / Reeves Superman films, the Burton / Keaton Batman films, and yes, also the Schoemaker films (I know, I know ...) or the Raimi / Maguire Spider-Man films ... I don't exactly know why. Funnily enough I never really got into the DC Comics and Marvel Comics, which are the source material to these films. And neither did I ever really get into their cartoon adaptations. I am not sure why, wrong place, wrong time I guess. Plus I was effectively preoccupied with Anime. Anyway, I suppose I was daunted by the sheer amount of material. I was always a kid who liked order and oversight in and over his collection and hobby. I didn't understand the publication history, multiple concurrently running series featuring the same hero, story arcs being spread out over up to 4 or 5 series, crossover events with other heroes, never knowing which crossovers are actually important. Add to that the fact that each issue in germany combined like 2 or 3 us-american issues, sometimes combining issues of different series into one german issue running under the brand of the main hero it featured, which made it all even more confusing. I tried to get into american superhero comics multiple times, bought quite a few issues and even read a couple of stories I really liked. But it just never clicked. Then there are of course collected editions if story arcs or certains character runs by singular authors and artists (called graphic novels), but then there are also One-Off Standalone / Spin-Off / Elseworld stories and graphic novels. And last but not least, there are these company wide major mega crossover events that tend to reset large chunks of the universes and characters continuity. Supposedly in order to create new entry points for new readers, but I don't know ... To me, that made it even more confusing. Besides, I like to get a full story of a character I like. I don't want to be told basically "yeah, you know kid, basically 80% of what we have published until now doesen't count anymore lol". With manga you have a clear beginning, one series, weekly or monthly chapters, collected volumes (tankobons) and once it's finished a clear ending. Sure it can be long as hell (in the case of One Piece over 90 volumes already), but at least when you read or watch it all you have a complete story. I guess I just always preferred that. Maybe that's why I liked the early Comicbook film adaptations of DC Comics and Marvel Comics : As a way of simplification. Now, there was a time when I only watched DC and Marvel adaptions out of principle, even though even back then I already knew that some of them where pretty fucking bad. I had a weird obsession with Batman Returns though, which I still have to this day. Probably has something to do with the fact that I was like 10 when I first watched it and really, really liked Michelle Pfeiffers Catwoman, if you know what I mean. But then my interest in - for lack of a better term - "real" Films started to rear it's head. Films that where originally cinematic. I had a phase where I was pretty obsessed with the Die Hard and Indiana Jones movies. They proved to be pretty damn good gateway blockbusters. Indiana Jones functioned as a gateway to Star Wars and that whole universe George Lucas had created. By the way : Yes, I watched Indiana Jones before Star Wars. The Indiana Jones films also served as a gateway to ALL the other Steven Spielberg films (the serious ones as well). I was shocked how many movies I had heard of but never cared for were actually Spielberg movies. The unbelievable range from "Jaws" to "Schindlers List" or from "E.T. theExtra-Terrestrial" to "Amistad" or "Minority Report" first made me realize how important the DIRECTOR is. After that I had a phase where I wanted to be cool and prove to myself I am hardcore enough to watch A LOT of Horror. My idea of Horror though, back then at least, was limited to 90% slasher. So I obsessed over Halloween, Friday the 13th, Nightmare on Elm Street, Scream, The Texas Chainsaw Massacre, The Hills Have Eyes and pretty much all of Romeros Living Dead (Zombie) films. It was arround that time that first torture porn wave swept over the Horror landscape and I was pretty proud of myself watching Saw and Hostel and talking about them at school, even though I remember HATING them. During the same time there was the Fantasy craze of the 00's and I got pretty involved with the Harry Potter and the The Lord of the Rings movies as well, but that always remained a secondary interest. I never read any of the books of either series, I have admit to ny great shame. It just wasen't the right time for me to read young fantasy or high fantasy novels. Even though I did like to read as a child and youngster. But when Harry Potter and The Lord of the Rings were all the rage I just was preoccupied with different interests, so it kinda fell through the cracks. I do however remember that I liked those films of Harry Potter that I had seen and most certainly all of the The Lord of the Rings films a great deal. Anyway, after the Spielberg well ran dry I took advice from my friend who was a couple of years older than me. He was like you like Die Hard, well good for you since there's a whole world of 80s balls to the walls action flicks out there. Thusly, the door to Schwarznegger and James Cameron opened. I probably don't have to tell you that The Terminator movies where my highlight (as well as Predator, which I was pleasantly surprised to learn had the same director as the first Die Hard). After I had seen Aliens, which I loved, I was shocked to find out it was a sequel. So I went back to the first. And so I discovered Ridley Scott. Funnily enough by means of arguably his worst film Alien 3 I learned about David Fincher, who remains one of my favourite director to this day. David Finchers two best works, by the way, are Zodiac and The Social Network, and not - albeit great - Seven and Fight Club, as many would have you believe. That is a fact and nobody will ever convince me otherwise. Ridley Scott led to me discovering Blade Runner (the Final Cut on my first watch, thankfully) which, for some time, I was convinced was the final word in cinematic quality. I also developed an almost unhealthy obsession with the hard-boiled Michael Douglas starrer Black Rain. I guess it spoke to me because it was set in Japan and I was such a big anime fan. Parallel to all this, roughly arround the time I started watching Cameron flicks, I also got balls deep into Quentin Tarantino. I remember I felt so smart and accomplished for having "discovered" Tarantino, I felt like a connoisseur of fine wine haha. What did I know he was mainstream. Well he wasn't for ME at the time. Needless to say, I loved all his films, even the slower paced Jackie Brown. Didn't like Death Proof so much, which was his newest release at the time. Naturally Tarantino led me to Robert Rodriguez, whose films I NEVER liked. Not even the ones generally considered good (From Dusk till Dawn, Sin City). For me he always felt like a pretentious poor mans Tarantino. Anyway, Quentin Tarantinos films taught me, for the very first time just how important a screenwriter and a good screenplay are. After discovering hard SciFi with Ridley Scott and Christopher Nolan's The Prestige (who of course was on my radar because of Batman Begins and nothing else lol), I finally felt smart enough to tackle Stanley Kubrick who, as I had heard and read on multiple occasions, was supposed to be the best director of all time, or at least one of the very best. So I bought a BluRay set containing all of his films from Lolita all the way to Eyes Wide Shut. And while I am sure HE IS one of the best directors of all time ... for me ... NOPE. His aesthetics, his way of telling a story , everything ... simply not for me. Stanley Kubrick's kino and I would not become friends. Not gonna lie, that made me a little sad back in 2008 / 2009 I think, because I really wanted to like his work. I felt like I was supposed to. But then I caught - totally by chance - Martin Scorseses Casino (1995) by aimlessly flipping through TV channels at night. It was the last 20 minutes of all things. I think I didn't skip to the next channel because I thought the verbal house fight between DeNiro and Sharon Stone was hilarious (Note : The only thing I knew Robert DeNiro from at this time was Jackie Brown). Anyway, then came the montage of the whacking with House of the Rising Sun which culminated in the now infamous cornfield murder. It was so raw and brutal. There was no music. There was no style or choreography to the beating. It wasn't "cool". There was no heroic escape nor was there a daring hero swooping in to save the day (note that at this point I didn't know that the Joe Persci character was a despicable gangster in his own right). All of it ... it just felt like I was watching a real mafia killing. And I ... WAS ... HOOKED. I rented Casino the next day and watched the whole thing. Talked about it with the guy from the video store. So he gave my GoodFellas. Mean Streets. The Departed. Raging Bull. The Aviator. Taxi Driver. The King of Comedy. After Hours. Scorsese Scorsese Scorsese. Now I gotta say I was never big on the crime genre, neither in movies nor television. So I probably would have never actively looked out for this movie. But I found it. And that's that. While Spielberg made me love movies as a medium, Scorsese and DeNiro made me love the craft of actually directing a movie and the art of acting. DeNiros filmography led me to the films of Francis Ford Coppola and Sergio Leone. And with these movies I realised why I didn't like Kubrick. While Kubrick was cold and sterile, albeit highly intelligent, Coppolas and Leones movies where more character driven, driven by plot, story and acting performances ... and in general simply "warmer", if that makes any sense. They just felt like their was more blood and life and passion to them, compared to all of Kubricks work. I first got into The Godfather movies and The Dollars trilogy of course, but over time I came to appreciate, in some cases even love, the smaller, quirkier, more unknown movies of these directiors like The Conversation (a film that taught me the value and importance of sound-mixing), Rumble Fish (my first glance into surrealism / expressionism) or Duck, You Sucker ! which was the first movie that I watched that got a message through to me about genuine class struggle and the futility of revolutions though history. Apocalypse Now made me realize and think about for the first time in my life what philosophy is all about. Once Upon a Time in the West made me understand why people like the opera. Something I never understood prior to watching this movie. When I was watching Once Upon a Time in the West for the third or fourth time it finally struck me, that, by all means, I was watching (and enjoying !) what was essentially an opera on film. And finally, Once Upon a Time in America, which I first saw at the age of 24 or 25, for the first time in my life made me think about topics such as true lasting friendships, the passing of time, missed opportunities, my own inevitable mortality, one-sided love and bitter regrets. And so films, my primary hobby as of today, HAVE definitely had a big influence on how I look at the world, who I am and how I think about certain things. And for that, I will be forever grateful.
Hey fellow Marty lovers' So just watched the Irishman and ....it was good. I enjoyed it. Long but not boring. Not a classic (yet). Fantastic performance by pacino and joe p. De niro did deniro but nothing we hadn't seen before. Direction / editing / score was all weaker than usual which might be due to the obviously smaller budget as well as age. Cgi was very distracting on a big screen in 4k. Uncanny valley at times. It just looked off until they stopped using it. There has already been some clever fanedit deepfake work released which hints at how much better the cgi could be. It's not perfect but worth a look. The cgi was a genuine problem at times and even with de-aging at times it wasn't clear if the actors were 40 or 60 but they were meant to be 20. That's an issue for a film aping the goodfellas life story rags to riches route. I'm ok with the choice to not use young actors for the early scenes but id have preferred if de niro wasn't de-aged at all beyond makeup. If you've seen Howard stern in private parts you'll know how this works. And it make sense if you imagine that it's an elderly man telling a story about his younger self but as an old man the younger version would still be him and his story would be distorted by time. But we can't fan edit that (yet). Better fanedit cgi could improve these issues drastically. I found the story to not be interesting enough for the runtime and what was interesting wasn't developed enough or was over shadowed by bloat. But there was gold in there though it will take a clever fan edit to make rhis happen. So what can be done. If anything. And I say this as a fan who believes there is a good film masquerading as an average film with good performances. The Irishman is too long and unfocused. This is good news as less can be more. The core story is at times lost in the meandering edit. So a fan edit could address this issue and the following. What to focus on? For me the failed family dynamic vs the successful friendship and mob family dynamic was interesting. But the daughter and wife didn't have remotely enough screen time or lines or plot so half of that falls flat. A fan edit could help with this though the lack of enough story for the daughter story line makes this tricky. But manageable. The other story of note and the heart of the film for me ...which just missed the mark.... was the frank and hoffa friendship. In some ways this was a male love story. At times it boarders on such a relationship especially as it is the only significantly developed relationship on screen with the wives serving as disposable token characters. A clever fan edit would heighten this and at the same time contrast it to Frank and russel abusive relationship of use based on Frank's supply and the mobs demands. I wish they had put more into the latter relationship which could have made the film heartbreaking. If they had showed that hoffa had loved and trusted frank and considered themselves as better than the mobsters. Only to have that faith betrayed by frank due to his true first wife...the mob. This lead to Hoffas death and worse frank is shown to have no actual love for any one including himself. Frank's love is the code but in the end that's all he has. His entire family leaves him and everyone else dies or he kills. If it could be shown that Frank didn't give a fuck about anyone as he was a psychopath. That be a rough ending for audiences and more true to life. A difficult uncompromising ending about a monster. A tool for organised crime. Instead we see him trying to reconnect with his daughter , repent to a priest while asking to keep the door open due to fear of loneliness. An ideal fan edit would include...
Improved deepfake cgi (as we now can do that). Or cut out the worse offenders.
the 3.5 hrs run time could be reduced by anything from 30 - 60 mins.
A focus on frank and hoffa friendship.
A focus on Frank's coldness and betrayal of his most successful relationship. The best thing in his life he destroys to be loyal to a code and a ring which in the end has no Meaning or worth.
Possibly a neater arrangement of the road trip segment in the film. Currently it's a film within a film within a film at times and the bad cgi makes it all blur. Take the car trip and place it all at the end leading up to Hoffas death.
keep the focus of Frank's loyalty to the mob vs his actual family.
cut down Franks weakness in old age. He has no remorse as he is a cold blooded killer. Cut the final priest repenting but keep the lack of empathy conversation. Cut the bank scene. Cut the funeral parlour scene. Cut some of the sitting around the house. Cut the script scene. Cut down the excuses to the blond daughter scene. Keep and focus on the estranged daughter story (minus the wish to be forgiven).
highlight the irishman title if possible. It seems lost.
change the soundtrack. It's fucking awful at times. All prior marty films had far superior timeless sound tracks. Except for the car killing radio scene as that was perfect.
keep the comedy as the jokes are needed in such a run time with so much violence.
cut short Frank's beating of the green grocer , as we have an elderly man moving like an elderly man but with the face of a middle aged man and the daughter of a young man. Id end it with him going into the store..Maybe breaking the glass. But remove the chicken dance.
remove the god awful pacino stunt man in the prison brawl. Unaccepitble with so much cgi to keep this bad wig younger man.
try to make the funeral of his wife have any impact.
put some great music to a montage edit of what happens to all the old criminals as we've seen famously in goodfellas and casino.
I know most of this can be achieved though it's beyond my skill set. And I feel the film is worth improving as it's likely the last of its kind. But doesn't currently stand amongst the all time greats. I genuinely believe the majority of the issues are in editing and pace and time (as well as cgi and music) so I know a fan edit can improve it. I've seen trash like Last Jedi saved and the 3 Hobbits made into one and GITS made watchable so I know it's possible :-) What would you change ? Or is the film perfect...(It's really isn't) Shout out below and thanks for reading.
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