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[Question] What are some iconic gangster movies in your country?
American woman who loves all types of gangstecrime/heist movies. Ideally, recommendations of directors from your country that are similar to Martin Scorsese (Goodfellas, Casino, Wolf of Wall Street) that I can watch on streaming and Netflix.
So in a world were streaming services is about to have as much legitimacy as the movie studios, Martin Scorsese, the goat of directors , has decided to take the plunge and make probably his last mob movie with the all stars of mob films, De niro, Pesci and Pacino. With De Niro, Pesci and Marty not having done a movie together since Casino. The first time De Niro and Pacino have worked together since heat. Because Righteous Kill never happened and Heat is one of my favorite films. This is probably the most ambitious movie Netflix has done. A 3.5 hour epic with a 175 million dollar budget and the results are awesome. First off, we get into the acting. De Niro has been on a roll with Wizard of Lies, Joker, and now this. You can just tell whenever he and Marty team up, he's at his best and this is no different. Next we got Joe Pesci and Pesci came out of a 20 year retirement to do this film and it feels like he never left. No acting rust on Pesci right here. It's a different type of role from Pesci because this doesn't have him screaming and breaking out the baseball bat and wacking someone. This is a very quiet and nuanced role for him and he nails it. But the best part of the movie for me, is Pacino as Jimmy Hoffa. Dude stole the show for me. Anytime he came on screen I was laughing pretty hard. It's crazy to me, that it took this long for Pacino to be in a Scorsese film. You've all heard that the films biggest selling point which that they deaged the actors. It was why the budget ballooned to 175 mil. I'd say about 95% of the time it works. On Pacino and Pesci, it looked amazing. Pacino especially looked like his Scent of a Woman days and Pesci looked like he stepped off the set of Home Alone. On De Niro, it does look good, he does look like hid Goodfellas self. There is his first scene all deaged, that he looked like a video game character. And there's a scene when he's curb stomping a dude and the way he moved, he moved like an old man. I was sitting there going "wow. you couldn't afford a body double huh Marty?" And yes, The Irishman is 3 and a half hours long. I felt like 3 hours flew by well, but the last half hour to me, while I understood why they wrapped the story up in that style, I do think they could've cut it down a bit. Had a bit of a Return of the King ending type of style. Guys The Irishman is a great film with 4 people coming togther for what's probably their last time on screen making a gangster movie. The biggest compliment I can say is to not expect a mob movie in the vein of Goodfellas and Casino. This is a straight up drama. If you can let that go, I promise you'll probably be satisfied. I do wish they had a bluray release so I can put it next to my bluray copies of Casino and Goodfellas. That feeling of completing an unofficial trilogy. This is easily one of my favorite films of the year.
Movie Review: The Irishman: A gangster’s life and claims - Scorsese Thinks Mob Bosses Really Understand America - 3 Dec 2019
(Official Trailer - https://www.youtube.com/watch?v=WHXxVmeGQUc ) Directed by Martin Scorsese; written by Steven Zaillian, based on the book by Charles Brandt Veteran American director Martin Scorsese’s new film The Irishman sets out to dramatize the life of Frank Sheeran (played by Robert De Niro), a member of a Pennsylvania crime family and a Teamsters union official. Shortly before his death in 2003, Sheeran told author Charles Brandt that he had killed his former boss (and longtime friend) Jimmy Hoffa, the Teamsters president from 1957 to 1971, who disappeared in 1975. Sheeran’s claims have been strenuously and convincingly contested by various sources. (Brandt’s book is I Heard You Paint Houses: Frank “The Irishman” Sheeran and the Closing of the Case on Jimmy Hoffa, 2004). Costing nearly $160 million and with a running time of 209 minutes, The Irishman is Scorsese’s longest and most expensive film. The new film is being treated by the American media as a significant cultural event. The Irishman took over the 1,000-seat Belasco Theatre in New York City’s theater district in November for a month of screenings, imitating a traditional Broadway schedule, with only eight shows a week. It is now available on Netflix. The film has received universal praise from critics. Innumerable publications have pronounced it “epic” or a “masterpiece,” or both. The New York Times’ A.O. Scott argues that Scorsese’s work “is long and dark: long like a novel by Dostoyevsky or Dreiser, dark like a painting by Rembrandt.” The critic who differs sharply with these views is very much fighting against the stream. While not as overtly misanthropic or malicious as The Wolf of Wall Street (2013), Gangs of New York (2002) or Goodfellas (1990), The Irishman is a poor, shallow, trite work, which goes back over territory Scorsese has covered numerous times. It continues and even deepens an unhealthy and tedious obsession with the representation of mob figures as somehow holding the key to understanding modern American life. The fact that the filmmaker goes to such great lengths to make figures who coldly kill for money and power into essentially sympathetic or compelling characters is hardly to his artistic or intellectual credit. (Nor is it to the credit of the critics who succumb to the same attraction.) More importantly, this speaks to the general cultural and political stagnation of the past several decades. It is one of Scorsese’s misfortunes that he was long ago, to a certain extent by default, proclaimed the “greatest living American filmmaker.” An undoubtedly gifted individual, he has been working, through no fault of his own, during the weakest decades in the history of the American and global cinema, a period when filmmaking in the main has turned its back on the lives, conditions and feelings of the great mass of the population. Moreover, there appears to be no one in or around the circles in which Scorsese travels who offers serious criticism or an objective appraisal of his film work. The Irishman distinguishes itself somewhat from the rest of Scorsese’s work by its ostensible dealing with political and historical events. The 1961 Bay of Pigs invasion by US-sponsored Cuban exiles to overthrow the Castro regime, the Cuban missile crisis a year later, the assassination of John F. Kennedy in 1963, the Watergate affair in the 1970s and, of course, Hoffa’s murder in 1975 all come in for treatment of a sort, along with a number of prominent “mob hits.” However, each incident—except for Hoffa’s killing—passes by in a matter of seconds, with virtually no explanation or context provided. One suspects that certain episodes, such as Sheeran’s recognition of E. Howard Hunt (Daniel Jenkins) during the Watergate hearings as one of the men he met years before during his purported participation in the Bay of Pigs plot, will be entirely incomprehensible to most viewers, especially younger ones. The filmmakers have divorced The Irishman from a serious assessment of Hoffa’s role, the broader evolution of the American labor movement and conditions of life in the US in the mid-20th century. Instead, Scorsese and screenwriter Steve Zaillian offer their audience a rambling, highly repetitive, at times incoherent drama, which presumably depends for its success with critics on a number of extended set pieces involving De Niro, Al Pacino (as Hoffa) and various other performers doing their best impressions of “tough guys.” Reality and history don’t figure largely here. These are impressions working from other impressions arranged according to Method Acting clichés (inspired to an extent by On the Waterfront, directed in 1954 by one of Scorsese’s idols, anti-communist informer Elia Kazan), and not necessarily life. One of the few solid notions one takes away from the film, at least its final act, is that being alone and isolated while growing old is a terrible fate. Along these lines, Scott in the Times argues that “public affairs and Cosa Nostra chronicles aren’t really what this movie is about.” Its real theme involves “a deeper, sadder lesson that has to do with the inevitability of loss. The loss of life, yes, but also the erosion of meaning that accompanies the fading of experience into memory and memory into nothing.” So the $160 million budget, the re-creation of various locales in the 1950s and beyond, and all the rest are merely scaffolding for a “meditation” on loss? A feeble, unconvincing argument, which, if taken seriously, only underscores the considerable waste of talent and resources involved. The Irishman opens with an aged Frank Sheeran recounting his time with the Mafia as he lives out his last days in a nursing home. The film is told mostly through flashbacks in a non-linear way. (As an aside, the production uses new “de-aging” technology rendering De Niro (76) and co-stars Pacino (79) and Joe Pesci (76) considerably younger as certain portions of the plot require. A visual effects team, according to one account, “creates a computer-generated, younger version of an actor’s face and then replaces the actor’s real face with the synthetic, animated version.” The technology no doubt has impressive possibilities, but in The Irishman, as a result, we see an impossibly younger De Niro as a World War II veteran and other similar anomalies. One wonders why the production couldn’t have simply hired younger actors.) In 1950s Pennsylvania, Sheeran works as a truck driver for a meat delivery company. Caught stealing from the company, he is defended by lawyer Bill Bufalino (Ray Romano), who then introduces him to his cousin, Russell Bufalino (Pesci), the head of a northeastern Pennsylvania crime family and a significant national figure. Sheeran begins doing jobs for Bufalino, eventually including murders. Bufalino hands the telephone at one point to Sheeran, indicating that Hoffa is on the line. “I heard you paint houses,” Hoffa says in their first conversation, a code phrase apparently for carrying out a contract killing. The Teamsters chief becomes close to Sheeran and his family. In his narration, Sheeran asserts that in the 1950s, Hoffa “was as big as Elvis. In the ’60s, he was like the Beatles. Next to the president, he was like the most powerful man in the country.” Hoffa becomes more and more entangled with mobsters, allowing them to borrow large sums of cash from the Teamsters’ pension fund to build casinos in Las Vegas and finance other projects. In 1958, Hoffa is questioned by Robert F. Kennedy, then chief counsel of the Senate Labor Rackets Committee, at a public hearing about organized crime. Three years later, the newly elected president John Kennedy appoints his brother as attorney general and the latter organizes a “Get Hoffa” squad of prosecutors and investigators. This concerted effort eventually results in Hoffa’s conviction in 1964—in two separate cases—on jury tampering charges and fraud. Hoffa begins serving his sentence in 1967. After four years and nine months in prison, Hoffa is pardoned by President Richard Nixon in December 1971. The government adds the restriction that he not run for the presidency of the Teamsters again. Hoffa nonetheless begins to campaign for the post, angering the mobsters with public accusations about his replacement Frank Fitzsimmons’ having sold the union out “to his underworld pals.” Hoffa declares, “The mob controls him, which means it controls our pension fund.” Despite warnings, Hoffa keeps up the demagogic attacks, as well as his megalomaniacal claims, “This is my union!” In the end, Sheeran reluctantly agrees to participate in getting rid of Hoffa. The latter is never seen again. The Irishman should end at this point, but it doesn’t, dragging on interminably. Sheeran attempts to reconnect with his estranged daughter Peggy (Anna Paquin), who has abandoned him because of his mob dealings. We watch the elderly Sheeran collapse in his home and be placed in a retirement home. Does Scorsese stage these latter scenes because he recognizes that Sheeran is not an attractive figure and thus a good deal of effort is required to make him seem human and sympathetic before the credits roll? The one serious opportunity to make something of Sheeran comes early in the film when the De Niro character recounts to Bufalino/Pesci that he spent four years in World War II, including a staggering 411 days in combat. He also describes shooting unarmed and defenseless German prisoners. The picture of brutality in the imperialist slaughterhouse goes a long way toward explaining his and other Mafia soldiers’ indifference to killing and suffering in the postwar era, but Scorsese drops the matter almost as soon as he raises it. Such historical and social concreteness is not his métier. In any event, there is considerable question as to whether the claims Sheeran made in 1972 to Charles Brandt, the author of I Heard You Paint Houses, about shooting Crazy Joe Gallo—a New York crime figure—and Hoffa, for example, are true. Various journalists, police and FBI officials emphatically reject Sheeran’s confession, although they concede he may have been involved in Hoffa’s killing in some fashion. There is no corroborating evidence to back up the gangster’s extravagant, deathbed contentions. It seems irresponsible for the filmmakers to have staked so much on such relatively flimsy evidence. But this seems in keeping with Scorsese’s generally cavalier attitude toward historical truth. (One should remember that his Gangs of New York, which passed itself off as incisive socio-cultural history, was based on a collection of tall tales.) Asked by an interviewer from Entertainment Weekly as to whether he believed “that what you have [in the movie] is what really happened,” Scorsese replied, “No. I don’t really care about that. What would happen if we knew exactly how the JFK assassination was worked out? What does it do? It gives us a couple of good articles, a couple of movies and people talking about [it] at dinner parties. The point is, it’s not about the facts. It’s the world [the characters are] in, the way they behave. It’s about [a character] stuck in a certain situation.” In fact, if, for instance, official or unofficial CIA involvement in the Kennedy assassination were to be established, it would have a devastating impact on American public opinion. More significantly, Scorsese has never been drawn to presenting actual history. He has his sights set on “higher” things, mythicized history, the working out under varied circumstances of his particular and unchanging concerns—guilt and redemption, “human evil,” criminality, male friendships, loyalty and betrayal, etc. The director has done little to add to the public’s knowledge about Jimmy Hoffa or the degeneration of the American labor movement. Pacino’s performance is a collection of physical and vocal mannerisms, apparently uninformed by any study of the Teamsters leader’s history or the meaning of his career. Hoffa (born in 1913 in Brazil, Indiana), a staunch trade union militant in Detroit from an early age, was trained in union organizing in the 1930s by socialists Farrell Dobbs and the Dunne brothers, members of the Trotskyist movement and leaders of Teamsters Local 544 in Minneapolis. Local 544 spearheaded the organization of the successful general strike in 1934, which, in turn, led to the rapid growth of the Teamsters among long-haul truckers in the Midwest. In 1941, on the eve of World War II, Teamsters President Dan Tobin set about the destruction of the Trotskyist leadership of Local 544. As the Socialist Workers Party’s leader James P. Cannon explained in his 1947 article, “The Mad Dog of the Labor Movement,” when the rank and file revolted against Tobin’s effort to put the local under receivership, the latter “called the federal cops through his friend President Roosevelt, and simply had the leaders [of the local] thrown into prison.” Cannon continued, “At the same time, a horde of Tobin’s gangsters [headed by Hoffa], armed with blackjacks and baseball bats, were turned loose on the trucking districts with the open connivance of the city police.” Hoffa, in his 1970 autobiography, paid tribute to Dobbs as the “the master architect of the Teamsters’ over-the-road operations,” “a crackerjack organizer” and “a brilliant strategist.” However, Hoffa went on, he never had any “patience” with either the Communist Party “or with the Trotskyites of the SWP.” He continued: “Both were Marxist; neither believed in a free-enterprise system; both failed to see that workers who leave the enslavement of capitalistic czars for the enslavement of state-appointed czars are no better off and, in fact, lose great economic and social values in the transition … To me, all communists are nuts.” In the final analysis, Hoffa’s relationship with the mob was a long-term function of his rejection of socialist politics and embrace of the profit system. His gross opportunism and the moral degeneration bound up with it also cost him his life. In The Irishman, Hoffa simply comes across as irritatingly churlish and stubborn. The viewer is almost encouraged to root for his giving in to Bufalino and company—after all, it will obviously save his life and there doesn’t seem to be any principled reason why he shouldn’t go along with the mobsters. Critics have more than once commented on Scorsese’s fixation with thugs. The Hollywood Reporter recently took note of the “real-life inspirations” for The Irishman’s “film stars:” Sheeran, an alleged hitman; Bufalino, who hid “a vast domain of criminal activity behind his curtain business;” loan shark and racketeer Felix “Skinny Razor” DiTullio (Bobby Cannavale); Sicilian-American mobster Angelo Bruno (Harvey Keitel); Anthony “Tony Pro” Provenzano (Stephen Graham), a captain in the Genovese crime family and a Teamsters official; Anthony “Fat Tony” Salerno (Domenick Lombardozzi), a New York mobster; and Joseph “Crazy Joe” Gallo (Sebastian Maniscalco), a gangster and part of the Profaci crime family. Each of these characters, as much as it is within The Irishman ’s power and scope, is given individual and even loving attention. Murderers and psychopaths in many cases, some of whose actions have more than a hint of medieval savagery about them, the foulest and most backward members of society, they are given far more depth and pathos than they possibly deserve. But what about the Teamsters members themselves? The only scenes in which they are included are ones where Hoffa addresses meetings of drivers (assuming that some of the audience members are drivers and not union officials), who applaud and cheer him on like mindless automatons. No truck driver is singled out for dramatic treatment, only gangsters. Many scenes in The Irishman are dramatically pointless. Characters argue at length about when it is considered rude to be late or wear shorts to a meeting, etc. This “comic” banality juxtaposed with savage violence (à la Quentin Tarantino) rapidly wears thin. In fact, the banter becomes almost unendurable at a certain point, in part because the lowlife characters themselves and their concerns are not interesting to begin with. In the narration that opens Scorsese’s Goodfellas, mobster Henry Hill (Ray Liotta) explains, “As far back as I can remember, I always wanted to be a gangster. To me, being a gangster was better than being president of the United States … To me, it meant being somebody, in a neighborhood full of nobodies. They weren’t like anybody else. They did whatever they wanted. They parked in front of hydrants and never got a ticket. When they played cards all night, nobody ever called the cops.” This unsavory, juvenile fantasy, which the real-life Hill realized, apparently holds some appeal for Scorsese himself. The filmmaker seems fascinated, like many petty-bourgeois intellectuals, with “strong men,” men with guns or clubs in their hands able to do “whatever they want.” It may not be his intention, but he has, over the course of a number of films, “romanticized the Mafia thug and turned him into a peculiar variety of American folk hero,” as the WSWS argued in a review of Scorsese’s The Aviator in 2005. Decades in which the “nobodies,” i.e., the working class majority of the population, have been politically, socially and economically suppressed and excluded—thanks in good measure to the suffocating role played by the type of pro-“free-enterprise” trade unionism championed by Hoffa—have had their impact on Scorsese and other artists. They see the active or energetic element in society, malevolent or otherwise, as lying elsewhere. Scorsese’s work reflects these difficulties (or rather wallows in them) without making sense of or grasping their logic. Throughout his career, the director has accepted uncritically and superficially the immediate, retrogressive reality, now in the process of breaking up, as a given. In recent comments, Scorsese, who has done important work as a producer, curator and preserver of films, has spoken out against large budget, blockbuster films based on comic books. In a New York Times opinion piece in early November, Scorsese repeated a remark he had made to an interviewer in October, to the effect that “Marvel [Comics] movies … seem to me to be closer to theme parks than they are to movies as I’ve known and loved them throughout my life.” He added that, “in the end, I don’t think they’re cinema.” Scorsese noted further that “for the filmmakers I came to love and respect, for my friends who started making movies around the same time that I did, cinema was about revelation—aesthetic, emotional and spiritual revelation. It was about characters—the complexity of people and their contradictory and sometimes paradoxical natures, the way they can hurt one another and love one another and suddenly come face to face with themselves.” Scorsese’s criticisms of contemporary Hollywood and the emptiness of its superhero products are entirely appropriate. However, his own efforts, unhappily, do not represent a genuine alternative, but rather the other side of the same deeply unsatisfactory coin. Important “revelations” are all too few and far between in his films, and the director’s conception of the “complexity of people” extends only to a very limited and debased social layer. .................. If You Like Joe Biden, You'll Love Scorsese's "The Irishman" - by James Delingpole (The Spectator) 7 Dec 2019 According to Nielsen Media’s ratings service, 17 million people watched ‘at least a few minutes’ of Martin Scorsese’s The Irishman on Netflix over its first weekend. Impressive. Rather less impressive, I’m guessing, is the proportion who actually made it to the end of this excruciating ordeal of an embarrassment of a movie. If it was even close to 50 percent, I’d be surprised. Some critics are saying its Scorsese’s best since Goodfellas. Don’t believe the hype. Though it reunites arguably the all time greatest trio of mob movie actors — Joe Pesci, Robert de Niro and Al Pacino — it’s not the performances you notice, but their age. De Niro is 76, Pacino 79 and Pesci 76. Yet they are playing characters who, for much of the film, are supposed to be half that age. In theory this shouldn’t be a problem. A massive chunk of the movie’s eye-wateringly vast budget — $200 million, allegedly, making it by far Scorsese’s most expensive movie — went on pioneering ‘de-aging’ CGI technology. Perhaps it’s too late for Netflix to ask for their money back. Seriously, they’ve been sold a pup. At first, it’s like an annoying noise in your hotel bedroom that’s keeping you awake: you try to shut it out and pretend it’s not happening. ‘Oh great!’ you think. ‘Classic Scorsese tracking shot. Just like in Casino and Goodfellas and The Wolf of Wall Street’, as the camera tracks through a bustling nursing home before settling on the solitary, very elderly chair-bound figure of — yay! — Robert De Niro. But while de Niro can more than convincingly pull off ‘Ninetysomething geriatric in chair’, he’s rather less persuasive as ‘Young GI at Anzio’, ‘Driver of a freezer truck in the 1950s’ and ‘Angry dad beating up the proprietor of a grocery store who has disrespected his pubescent daughter’. As de Niro creakily puts the boot in, you’re more worried that the exertion is going to give him a heart attack than you are about the fate of his victim. Later, having joined the Mob as a hitman, de Niro’s character Frank ‘The Irishman’ Sheehan, becomes the loyal confidant of Teamsters Union boss Jimmy Hoffa, even to the point of sharing hotel bedrooms with him. There’s a scene where the two men are in their pajamas, having some kind of meaningful dialogue which I’m sure was meant to have you thinking ‘This is another of those Heat-style masterclasses’, but which, I’m afraid, just had me going, ‘Ew! Old guys in pajamas. Please, God, don’t let their fly buttons accidentally fall open.’ I hated responding in this way. I’m getting older myself. I want to live in a world where the work keeps rolling in for us wrinklies and we never have to retire. But as Helen Mirren demonstrated so ably in Catherine the Great, there’s nothing dignified or life-affirming about mutton dressing as lamb; well, not until the CGI technology gets a lot, lot better at disguising it, anyway. What bothers me is that this may be yet another, hideous, politically correct trend that the world of woke luvviedom is seeking to impose on us, whether we like it or not. To teach us not to be racist, we now routinely see black actors inserted anachronistically into period dramas. To force us to celebrate gay/transgendedisability empowerment we’re now told that such parts can no longer be played by straight/cis/able-bodied actors (even though, you might think, that playing characters who aren’t you is kind of the whole point of acting). Now, to ensure that we’re not ageist, we have to sit through three-and-a-half-hour-long Scorsese movies, feigning not to notice that the parade of virile, macho hard-drinking mobsters and their molls look more like refugees from The Walking Dead. https://archive.is/Jstm5
Movie Review: Martin Scorsese’s The Irishman: A gangster’s life and claims - 3 Dec 2019
(Official Trailer - https://www.youtube.com/watch?v=WHXxVmeGQUc ) Directed by Martin Scorsese; written by Steven Zaillian, based on the book by Charles Brandt' Veteran American director Martin Scorsese’s new film The Irishman sets out to dramatize the life of Frank Sheeran (played by Robert De Niro), a member of a Pennsylvania crime family and a Teamsters union official. Shortly before his death in 2003, Sheeran told author Charles Brandt that he had killed his former boss (and longtime friend) Jimmy Hoffa, the Teamsters president from 1957 to 1971, who disappeared in 1975. Sheeran’s claims have been strenuously and convincingly contested by various sources. (Brandt’s book is I Heard You Paint Houses: Frank “The Irishman” Sheeran and the Closing of the Case on Jimmy Hoffa, 2004). Costing nearly $160 million and with a running time of 209 minutes, The Irishman is Scorsese’s longest and most expensive film. The new film is being treated by the American media as a significant cultural event. The Irishman took over the 1,000-seat Belasco Theatre in New York City’s theater district in November for a month of screenings, imitating a traditional Broadway schedule, with only eight shows a week. It is now available on Netflix. The film has received universal praise from critics. Innumerable publications have pronounced it “epic” or a “masterpiece,” or both. The New York Times’ A.O. Scott argues that Scorsese’s work “is long and dark: long like a novel by Dostoyevsky or Dreiser, dark like a painting by Rembrandt.” The critic who differs sharply with these views is very much fighting against the stream. While not as overtly misanthropic or malicious as The Wolf of Wall Street (2013), Gangs of New York (2002) or Goodfellas (1990), The Irishman is a poor, shallow, trite work, which goes back over territory Scorsese has covered numerous times. It continues and even deepens an unhealthy and tedious obsession with the representation of mob figures as somehow holding the key to understanding modern American life. The fact that the filmmaker goes to such great lengths to make figures who coldly kill for money and power into essentially sympathetic or compelling characters is hardly to his artistic or intellectual credit. (Nor is it to the credit of the critics who succumb to the same attraction.) More importantly, this speaks to the general cultural and political stagnation of the past several decades. It is one of Scorsese’s misfortunes that he was long ago, to a certain extent by default, proclaimed the “greatest living American filmmaker.” An undoubtedly gifted individual, he has been working, through no fault of his own, during the weakest decades in the history of the American and global cinema, a period when filmmaking in the main has turned its back on the lives, conditions and feelings of the great mass of the population. Moreover, there appears to be no one in or around the circles in which Scorsese travels who offers serious criticism or an objective appraisal of his film work. The Irishman distinguishes itself somewhat from the rest of Scorsese’s work by its ostensible dealing with political and historical events. The 1961 Bay of Pigs invasion by US-sponsored Cuban exiles to overthrow the Castro regime, the Cuban missile crisis a year later, the assassination of John F. Kennedy in 1963, the Watergate affair in the 1970s and, of course, Hoffa’s murder in 1975 all come in for treatment of a sort, along with a number of prominent “mob hits.” However, each incident—except for Hoffa’s killing—passes by in a matter of seconds, with virtually no explanation or context provided. One suspects that certain episodes, such as Sheeran’s recognition of E. Howard Hunt (Daniel Jenkins) during the Watergate hearings as one of the men he met years before during his purported participation in the Bay of Pigs plot, will be entirely incomprehensible to most viewers, especially younger ones. The filmmakers have divorced The Irishman from a serious assessment of Hoffa’s role, the broader evolution of the American labor movement and conditions of life in the US in the mid-20th century. Instead, Scorsese and screenwriter Steve Zaillian offer their audience a rambling, highly repetitive, at times incoherent drama, which presumably depends for its success with critics on a number of extended set pieces involving De Niro, Al Pacino (as Hoffa) and various other performers doing their best impressions of “tough guys.” Reality and history don’t figure largely here. These are impressions working from other impressions arranged according to Method Acting clichés (inspired to an extent by On the Waterfront, directed in 1954 by one of Scorsese’s idols, anti-communist informer Elia Kazan), and not necessarily life. One of the few solid notions one takes away from the film, at least its final act, is that being alone and isolated while growing old is a terrible fate. Along these lines, Scott in the Times argues that “public affairs and Cosa Nostra chronicles aren’t really what this movie is about.” Its real theme involves “a deeper, sadder lesson that has to do with the inevitability of loss. The loss of life, yes, but also the erosion of meaning that accompanies the fading of experience into memory and memory into nothing.” So the $160 million budget, the re-creation of various locales in the 1950s and beyond, and all the rest are merely scaffolding for a “meditation” on loss? A feeble, unconvincing argument, which, if taken seriously, only underscores the considerable waste of talent and resources involved. The Irishman opens with an aged Frank Sheeran recounting his time with the Mafia as he lives out his last days in a nursing home. The film is told mostly through flashbacks in a non-linear way. (As an aside, the production uses new “de-aging” technology rendering De Niro (76) and co-stars Pacino (79) and Joe Pesci (76) considerably younger as certain portions of the plot require. A visual effects team, according to one account, “creates a computer-generated, younger version of an actor’s face and then replaces the actor’s real face with the synthetic, animated version.” The technology no doubt has impressive possibilities, but in The Irishman, as a result, we see an impossibly younger De Niro as a World War II veteran and other similar anomalies. One wonders why the production couldn’t have simply hired younger actors.) In 1950s Pennsylvania, Sheeran works as a truck driver for a meat delivery company. Caught stealing from the company, he is defended by lawyer Bill Bufalino (Ray Romano), who then introduces him to his cousin, Russell Bufalino (Pesci), the head of a northeastern Pennsylvania crime family and a significant national figure. Sheeran begins doing jobs for Bufalino, eventually including murders. Bufalino hands the telephone at one point to Sheeran, indicating that Hoffa is on the line. “I heard you paint houses,” Hoffa says in their first conversation, a code phrase apparently for carrying out a contract killing. The Teamsters chief becomes close to Sheeran and his family. In his narration, Sheeran asserts that in the 1950s, Hoffa “was as big as Elvis. In the ’60s, he was like the Beatles. Next to the president, he was like the most powerful man in the country.” Hoffa becomes more and more entangled with mobsters, allowing them to borrow large sums of cash from the Teamsters’ pension fund to build casinos in Las Vegas and finance other projects. In 1958, Hoffa is questioned by Robert F. Kennedy, then chief counsel of the Senate Labor Rackets Committee, at a public hearing about organized crime. Three years later, the newly elected president John Kennedy appoints his brother as attorney general and the latter organizes a “Get Hoffa” squad of prosecutors and investigators. This concerted effort eventually results in Hoffa’s conviction in 1964—in two separate cases—on jury tampering charges and fraud. Hoffa begins serving his sentence in 1967. After four years and nine months in prison, Hoffa is pardoned by President Richard Nixon in December 1971. The government adds the restriction that he not run for the presidency of the Teamsters again. Hoffa nonetheless begins to campaign for the post, angering the mobsters with public accusations about his replacement Frank Fitzsimmons’ having sold the union out “to his underworld pals.” Hoffa declares, “The mob controls him, which means it controls our pension fund.” Despite warnings, Hoffa keeps up the demagogic attacks, as well as his megalomaniacal claims, “This is my union!” In the end, Sheeran reluctantly agrees to participate in getting rid of Hoffa. The latter is never seen again. The Irishman should end at this point, but it doesn’t, dragging on interminably. Sheeran attempts to reconnect with his estranged daughter Peggy (Anna Paquin), who has abandoned him because of his mob dealings. We watch the elderly Sheeran collapse in his home and be placed in a retirement home. Does Scorsese stage these latter scenes because he recognizes that Sheeran is not an attractive figure and thus a good deal of effort is required to make him seem human and sympathetic before the credits roll? The one serious opportunity to make something of Sheeran comes early in the film when the De Niro character recounts to Bufalino/Pesci that he spent four years in World War II, including a staggering 411 days in combat. He also describes shooting unarmed and defenseless German prisoners. The picture of brutality in the imperialist slaughterhouse goes a long way toward explaining his and other Mafia soldiers’ indifference to killing and suffering in the postwar era, but Scorsese drops the matter almost as soon as he raises it. Such historical and social concreteness is not his métier. In any event, there is considerable question as to whether the claims Sheeran made in 1972 to Charles Brandt, the author of I Heard You Paint Houses, about shooting Crazy Joe Gallo—a New York crime figure—and Hoffa, for example, are true. Various journalists, police and FBI officials emphatically reject Sheeran’s confession, although they concede he may have been involved in Hoffa’s killing in some fashion. There is no corroborating evidence to back up the gangster’s extravagant, deathbed contentions. It seems irresponsible for the filmmakers to have staked so much on such relatively flimsy evidence. But this seems in keeping with Scorsese’s generally cavalier attitude toward historical truth. (One should remember that his Gangs of New York, which passed itself off as incisive socio-cultural history, was based on a collection of tall tales.) Asked by an interviewer from Entertainment Weekly as to whether he believed “that what you have [in the movie] is what really happened,” Scorsese replied, “No. I don’t really care about that. What would happen if we knew exactly how the JFK assassination was worked out? What does it do? It gives us a couple of good articles, a couple of movies and people talking about [it] at dinner parties. The point is, it’s not about the facts. It’s the world [the characters are] in, the way they behave. It’s about [a character] stuck in a certain situation.” In fact, if, for instance, official or unofficial CIA involvement in the Kennedy assassination were to be established, it would have a devastating impact on American public opinion. More significantly, Scorsese has never been drawn to presenting actual history. He has his sights set on “higher” things, mythicized history, the working out under varied circumstances of his particular and unchanging concerns—guilt and redemption, “human evil,” criminality, male friendships, loyalty and betrayal, etc. The director has done little to add to the public’s knowledge about Jimmy Hoffa or the degeneration of the American labor movement. Pacino’s performance is a collection of physical and vocal mannerisms, apparently uninformed by any study of the Teamsters leader’s history or the meaning of his career. Hoffa (born in 1913 in Brazil, Indiana), a staunch trade union militant in Detroit from an early age, was trained in union organizing in the 1930s by socialists Farrell Dobbs and the Dunne brothers, members of the Trotskyist movement and leaders of Teamsters Local 544 in Minneapolis. Local 544 spearheaded the organization of the successful general strike in 1934, which, in turn, led to the rapid growth of the Teamsters among long-haul truckers in the Midwest. In 1941, on the eve of World War II, Teamsters President Dan Tobin set about the destruction of the Trotskyist leadership of Local 544. As the Socialist Workers Party’s leader James P. Cannon explained in his 1947 article, “The Mad Dog of the Labor Movement,” when the rank and file revolted against Tobin’s effort to put the local under receivership, the latter “called the federal cops through his friend President Roosevelt, and simply had the leaders [of the local] thrown into prison.” Cannon continued, “At the same time, a horde of Tobin’s gangsters [headed by Hoffa], armed with blackjacks and baseball bats, were turned loose on the trucking districts with the open connivance of the city police.” Hoffa, in his 1970 autobiography, paid tribute to Dobbs as the “the master architect of the Teamsters’ over-the-road operations,” “a crackerjack organizer” and “a brilliant strategist.” However, Hoffa went on, he never had any “patience” with either the Communist Party “or with the Trotskyites of the SWP.” He continued: “Both were Marxist; neither believed in a free-enterprise system; both failed to see that workers who leave the enslavement of capitalistic czars for the enslavement of state-appointed czars are no better off and, in fact, lose great economic and social values in the transition … To me, all communists are nuts.” In the final analysis, Hoffa’s relationship with the mob was a long-term function of his rejection of socialist politics and embrace of the profit system. His gross opportunism and the moral degeneration bound up with it also cost him his life. In The Irishman, Hoffa simply comes across as irritatingly churlish and stubborn. The viewer is almost encouraged to root for his giving in to Bufalino and company—after all, it will obviously save his life and there doesn’t seem to be any principled reason why he shouldn’t go along with the mobsters. Critics have more than once commented on Scorsese’s fixation with thugs. The Hollywood Reporter recently took note of the “real-life inspirations” for The Irishman’s “film stars:” Sheeran, an alleged hitman; Bufalino, who hid “a vast domain of criminal activity behind his curtain business;” loan shark and racketeer Felix “Skinny Razor” DiTullio (Bobby Cannavale); Sicilian-American mobster Angelo Bruno (Harvey Keitel); Anthony “Tony Pro” Provenzano (Stephen Graham), a captain in the Genovese crime family and a Teamsters official; Anthony “Fat Tony” Salerno (Domenick Lombardozzi), a New York mobster; and Joseph “Crazy Joe” Gallo (Sebastian Maniscalco), a gangster and part of the Profaci crime family. Each of these characters, as much as it is within The Irishman ’s power and scope, is given individual and even loving attention. Murderers and psychopaths in many cases, some of whose actions have more than a hint of medieval savagery about them, the foulest and most backward members of society, they are given far more depth and pathos than they possibly deserve. But what about the Teamsters members themselves? The only scenes in which they are included are ones where Hoffa addresses meetings of drivers (assuming that some of the audience members are drivers and not union officials), who applaud and cheer him on like mindless automatons. No truck driver is singled out for dramatic treatment, only gangsters. Many scenes in The Irishman are dramatically pointless. Characters argue at length about when it is considered rude to be late or wear shorts to a meeting, etc. This “comic” banality juxtaposed with savage violence (à la Quentin Tarantino) rapidly wears thin. In fact, the banter becomes almost unendurable at a certain point, in part because the lowlife characters themselves and their concerns are not interesting to begin with. In the narration that opens Scorsese’s Goodfellas, mobster Henry Hill (Ray Liotta) explains, “As far back as I can remember, I always wanted to be a gangster. To me, being a gangster was better than being president of the United States … To me, it meant being somebody, in a neighborhood full of nobodies. They weren’t like anybody else. They did whatever they wanted. They parked in front of hydrants and never got a ticket. When they played cards all night, nobody ever called the cops.” This unsavory, juvenile fantasy, which the real-life Hill realized, apparently holds some appeal for Scorsese himself. The filmmaker seems fascinated, like many petty-bourgeois intellectuals, with “strong men,” men with guns or clubs in their hands able to do “whatever they want.” It may not be his intention, but he has, over the course of a number of films, “romanticized the Mafia thug and turned him into a peculiar variety of American folk hero,” as the WSWS argued in a review of Scorsese’s The Aviator in 2005. Decades in which the “nobodies,” i.e., the working class majority of the population, have been politically, socially and economically suppressed and excluded—thanks in good measure to the suffocating role played by the type of pro-“free-enterprise” trade unionism championed by Hoffa—have had their impact on Scorsese and other artists. They see the active or energetic element in society, malevolent or otherwise, as lying elsewhere. Scorsese’s work reflects these difficulties (or rather wallows in them) without making sense of or grasping their logic. Throughout his career, the director has accepted uncritically and superficially the immediate, retrogressive reality, now in the process of breaking up, as a given. In recent comments, Scorsese, who has done important work as a producer, curator and preserver of films, has spoken out against large budget, blockbuster films based on comic books. In a New York Times opinion piece in early November, Scorsese repeated a remark he had made to an interviewer in October, to the effect that “Marvel [Comics] movies … seem to me to be closer to theme parks than they are to movies as I’ve known and loved them throughout my life.” He added that, “in the end, I don’t think they’re cinema.” Scorsese noted further that “for the filmmakers I came to love and respect, for my friends who started making movies around the same time that I did, cinema was about revelation—aesthetic, emotional and spiritual revelation. It was about characters—the complexity of people and their contradictory and sometimes paradoxical natures, the way they can hurt one another and love one another and suddenly come face to face with themselves.” Scorsese’s criticisms of contemporary Hollywood and the emptiness of its superhero products are entirely appropriate. However, his own efforts, unhappily, do not represent a genuine alternative, but rather the other side of the same deeply unsatisfactory coin. Important “revelations” are all too few and far between in his films, and the director’s conception of the “complexity of people” extends only to a very limited and debased social layer.
There have been a lot of big changes recently. 6658.(Can't think of a title.)Do you remember Steve Jobs being the first person to say "Good artists copy. Great artists steal." instead of Pablo Picasso? https://www.alternatememories.com/historical-events/people/steve-jobs-first-said-great-artists-steal 6659.(Music Lyrics change.)"She's a killer Queen. Gunpowder. Turpentine."/"She's a killer Queen. Gunpowder. Guillotine."/"She's a killer Queen. Gunpowder. Gelatine."(Other lyrics?)(Anything else off?) https://genius.com/Queen-killer-queen-lyrics 6660.(Celebrity death date change.)Do you remember Wallace Broecker dying earlier than February 18, 2019? https://en.m.wikipedia.org/wiki/Wallace_Smith_Broecker 6661.(Celebrity death date change.)Do you remember Lee Radiziwill dying earlier than February 15, 2019?(Do the Ls in her name look off?) https://en.m.wikipedia.org/wiki/Lee_Radziwiłł 6662.(Can't think of a title.)Do you remember The Doors Of The 21st Century not being a thing?(Ian Ashbury/Ian Astbury) https://en.m.wikipedia.org/wiki/Manzarek–Krieger 6663.(Event name change.)Lalapalooza/Lolapalooza/Lollapalooza(Other spellings?)(Does the logo look off?) https://en.m.wikipedia.org/wiki/Lollapalooza 6664.(Movie Quote change.)"You're gonna be one badass motherfucker."/"You're gonna be a bad motherfucker."(Other quotes?) https://m.youtube.com/watch?v=f6_Ze7_oYNc 6665.(Product Logo change.)Do you remember the letters in Tampico being normal?(Anything else off?) https://en.m.wikipedia.org/wiki/Tampico_Beverages 6666.(Real Life Quote change.)"I am not a crook."/"I'm not a crook."(Anything else off?) https://m.youtube.com/watch?v=sh163n1lJ4M 6667.(Movie Quote change.)"I love him something awful."/"I love him awful."(Does the movie logo keep changing?) https://m.youtube.com/watch?v=qfMBPsmh30k 6668.(R&B Group name change.)The Staples Singers/The Staple Singers(Do any of their logos look off?)(Anything else off?)(Does the Soul Train logo look off?)(Many remembered spellings of Abbott and all the other logos have changed.)(SiriusXM logos all have off letters.)(Most Capitol Records logos have connected letters.)(Soya Sauce/Soy Sauce)(Other spellings?)(Soya/Soy)(Twitter logo bird has changed.)(Dolly from Moonraker now has bows in her hair.)(The Bare Necessities lyrics keeps changing.)(Terrence McKenna/Terence McKenna)(Anything else off?)(Yubo logo has off letters.)(The Gifted logo has off letters.)(Quanta(Quantum?)Magazine website logo has off letters.)(The Conversation website logo has off letters.)(Book predicts a lot of Donald Trump related stuff.)(Givology logo and name keep changing.)(Male fruit flies look for alcohol when rejected.)(Frost And Nixon/Frost/Nixon)(Other names?)(Anything else off?)(Seatle, Washington/Seattle, Washington)(Other spellings?)(New Dylan album and a song moved onto it.)(Have you heard of Mimi Pond?)(Snownados now exist.)(Famous Birthdays logo has off logo.)(Android logos all keep changing.)(Timothy Chalamet/Timothée Chalamet)(Was Timothée and anything similar to it never an acceptable spelling of Timothy?)(Vector Vest logo has connected and off letters.)(Tess Daily/Tess Daly)(Lots of album cover logos have changed.)(Kissed By A Rose by Seal keeps changing.)(Other remembered spellings of Diana Rigg that haven't been mentioned yet?)(Radio station logos keep changing.)(Did John Lennon say the Good Artists Copy quote?)(Anything else off?)(Old raven related quote changed.)(Abba song lyrics are changing.)(Water polo was a thing.)(Homeless shelters charge people to stay.)(Didn't Ric Flair die?)(Spider that looks like David Bowie.)(Tasty Freeze/Tastee-Freez)(Anything else off?)(Hughes Airwest logo looks off.)(Altec Lansing is off.)(We're The Millers If Anyone Asks?)(Red Red Wine by Neil Diamond has changed or was it UB40?)(Was Zangief spelled differently?)(Sherbet Crayola or Pink Sherbet?)(MC Hammer's pants in U Can't Touch This are now red instead of yellow.)(Better Help website logo has off letters.)(Weird colored skies.)(Neurophen/Nurofen)(Footloose lyrics keep changing.)(Harpy eagles now exist.)(Dip Dab logo is merged.)(Derek Hatton is now alive.)(Sherbet Lemons/Lemon Sherbets)(Maynards Bassetts logo and all the subtexts have merged or off letters.)(Sherbet pronunciation keeps changing.)(Did what Sorbet and Sherbet used to be switch with each other?)(Is the pronunciation of Sorbet off?)(Fred from Scooby-Doo lost his Adam's Apple and his hairstyle has changed.)(Velma from Scooby-Doo has larger breasts, has different shoes, has knee stockings and looks less plain and her eye shape looks off.)(Scooby Doo's voice sounds slighty deeper and easier to understand and he no longer ends every episode with "Scooby Dooby Doo!".)(All the new moons and names for them.)(Interesting video below.)(Russia sold Alaska to America and Canada didn't.)(Video below.)(More new blood types.)(Video below.)(The Challenge: War Of The Worlds logo is off.)(Interesting video below.)(Tarantula with horn on its back discovered.)(The Munsters spelling keeps changing.)(Lots of early colored photos and videos.)(Lots of weird eye colored cartoons.)(Big Native American book change.)(Golden possums?)(Bamm-Bamm now has a green club.)(Elvis quote keeps changing.)("One of us" quotes all keep changing.)Lots of weird eye colored cartoons now.)(Rana brand logo keeps changing.)(Timothy Leary radio quote keeps changing.)(Purple and weird solid colored corn.)(Almost perfectly straight bananas.)(All Zillow logos keep changing.)(Giant supposedly extinct bees exist and they were found to still be alive.)(Lots of weird new stuff.)(Juicy Fruits/Juicy Fruit)(Were MC Hammer's pants a color other than yellow or red in U Can't Touch This?)(Baobab flower?)(Ficcus tree or plant?)(Lots of weird new changes.)(Lots of new logo changes.)(Snoopy's feet now have lines on them.)(Lots of new religious studies and philosophies.)(Sayeth to Quoteth raven quote change.)(Woman rubs period blood on face to show "beauty".)(Weird new large fish species discovered washed up on beach.)(Go Wireless! logo letters are touching.)(Wood's Boots logo is off.)(Frank Communications logo is off.)(Foreign Accent Syndrome?)(More changes to lots of stuff.)(Multiple colors for tangerines?)(The Godfather "Offer" quote keeps changing.)(Saturn's rings keep changing.)(I Feel Love by Donna Summer lyrics have changed.)(Matramony/Matrimony)(Other spellings?)(3D music systems in the 1950's.)(Did there used to be light brown M&Ms and not blue ones?)("The Suicide Tree"?)(Taiwanese leopard spotted for first time since 1983.)(Oridisia cats?)(Deer with with lots of thick antlers?)(Airplanes having engines above the wings?)(Disney parks in Shanghai, Hong Kong, Paris and Hawaii?)(You can get a vegan chocolate penis delivered to your door.)(Congo/Kongo)(Was the latter not acceptable?)(Do you remember the Badlands rock band not existing?)(Do you remember Calling Occupants Of Interplanetary Craft by Carpenters not existing?)(Electric fire clams now exist.)(Many outfits Cesar Romero wore as the Joker in the original Batman show have changed.)(Sri Lankan elwphants now exist.)(Asian elephants now exist.)(Indian elephants now exist.)(Lots of phantom and new geography.)(Shoes made with grass.)(Scandals made out of Trump's contradictory tweets.)(Underwear you can wear for weeks without washing.)(Polyamorous woman has husband, fiancé, and two boyfriends.)(Rainbow wasps now exist.)(Anything else off?)(The Riddler now doesn't always wear all green.)(Anything else off?)(Equifax logo has connected and off letters.)(Are any of the outfits in Labyrinth off in any way?)(Headphones in the 1910's.)(Did Daphne not wear pink stockings ever?)(Anything else off?)(Anything else about the JetBlue name, spelling, or logo?)(Interesting video below.)(Did Marcus Dean Fuller, David Niven, and Barry Nelson never portray James Bond in any movie?)(Anything else off?)(On The Case With Paula Zahn logo has off letters.)(Systane logo has off letters.)(Juicy/Jucee juice brand and is the logo off?)(Other spellings?)(Bananas don't peel as easy or in the same place in some cases now.)(Flocks of birds getting much larger.)(Did Nabisco saltine crackers always say Premium?)(Anything else off?)(Picturephones were now a thing.)("Keep on dancing. Gotta keep on dancing.", "He will visit.", or "Evil visit." song lyrics by The Prodigy?)(Anything else off?)(More Teletubbies changes.)(The rainbow grapes and multiple colored tangerines changes are fake at least for now.)(Fracture printing logo has off letters.)(Anything else off?)(Didn't King Kong Bundy pass away years before March 4, 2019?)(Anything else off?)(Holidays that pop out of nowhere.)(Herby: Fully Loaded/Herbie: Fully Loaded)(Anything else off?)(Tommy CoppeTommie Copper)(Anything else off?)(Blue macaw parrots now existed.)(Frozen ice balls of Lake Michigan.)(Aspiration logo has off letters.)(Putting photos on guns during WW2?)(Any other time?)(Is the number of days in a year off?)(Walking trees and other walking plants?)(Haribo Tangtastics/Haribo Tangfastics)(Other spellings?)(Lots of logo changes recently.)(OdorBan/OdoBan)(Lambkins now exist.)(Lots of weird new sunfish.)(Lots of new ghost ice stuff.)(The Honky Tonk Man is just now being inducted into the WWE Hall Of Fame.)(Redferrin/Redfin)(Is the logo off?)(Anything else off?)(Do you remember the Uncle Sam poster saying "We want you" instead of "I want you"?)(Fantatics app logo is off.)(Instaflex logo is off.)(Milly Vanilly/Milli Vanilli)(Do any of their logos look off?)(Saturn's rings keep changing.)(Lots of name changes.)(Do you remember somebody other than Frankie Valli singing Can't Take Off Of You?)(ASDA store brand products have connected letters.)(Interesting video.)(The Brady Girls Get Married now exists.)(Plants respond to pain similar to how we respond to pain.)(Lots of sexual orientation related changes.)(Your brain still works for a while after you die.)(Lots of app logo changes.)(Lots of commercial font changes.)(Ant-Man And The Wasp has connected letters.)(Westcott logo now looks like the old reality VW logo.)(Kyle JenneKylie Jenner)(Lots of weird names and name spellings.)(Poly-Fil(Poly-Fill?)logo has changed.)(Brother At Your Side logo has changed.)(Ayatollah Khamenei horrible quotes and other horrible quotes from this new reality.)(I Want You by Savage Garden lyrics have changed.)(Do any of their logos look off?)(India's poverty level keeps changing.) https://m.youtube.com/watch?v=RaNHrX9cHKI https://m.youtube.com/watch?v=Av_7eo7HYJ4 https://m.youtube.com/watch?v=BPH7GdhKI-g https://m.youtube.com/watch?v=OXcYJ4R4MBI https://m.youtube.com/watch?v=nmAd6EZBtWE https://m.youtube.com/watch?v=FJXufec9OX0 https://en.m.wikipedia.org/wiki/The_Staple_Singers 6669.(Famous Hero name change.)Wild Bill Hitchcock/Wild Bill Hickok(Other spellings?) https://en.m.wikipedia.org/wiki/Wild_Bill_Hickok 6670.(Restaurant name change.)El Toritos/El Torito(Anything else off?) https://en.m.wikipedia.org/wiki/El_Torito 6671.(Can't think of a title.)Do you remember deer not being able to scream?(Anything else off?) https://m.youtube.com/watch?v=qAVt1iRpvlc 6672.(Song name change.)Let's Hear It For The Boys/Let's Hear It For The Boy(Are the lyrics off?)(Do any of her logos look off?) https://en.m.wikipedia.org/wiki/Let%27s_Hear_It_for_the_Boy 6673.(Can't think of a title.)Do you remember alligators and crocodiles not being able to be this big? https://m.youtube.com/watch?v=Cy2akN2bTX4 6674.(History change.)Do you remember Donald Trump not running for president in 2000?(Anything else off about what he's said about running for president or not?) https://en.m.wikipedia.org/wiki/Donald_Trump_2000_presidential_campaign 6675.(Can't think of a title.)Do you remember these things being different or not a thing?(Cranial fissures now are sutures and fibrous, pulsing fontanelles, "flavor country" no longer existed, pineal eye is now a physical eye on outside of face of animals and some have 4 eyes, plain of jars, skara brae, manitol/malitol/maltitol, persistent pupillary membrane over eye in 20% of adult humans and also animals, helium superfluid has 0 viscosity and can't be contained, bacteria also make superfluids, California great flood of 1861 and 1862, ice disk, 1908 New York to Paris car race, atmospheric rivers, Chernobyl didn't shut down after 1986 disaster until 2000, animals still being able to thrive in Chernobyl, more geography changes, more US flag changes, female elephants have tusks called tushes and some male elephants are naturally born without tusks and elephants are apparently evolving not to have them at all, lots of weird sharks and weird stuff about sharks, bioluminescent lizards.)(Video below.)(Australian Geographic logo has connected letters.)(Release dates for everything changing.)(Lots of famous name spellings have drastically changed.) https://m.youtube.com/watch?v=v6MXLpWD2BY 6676.(Company Logo change.)Sunglasses Hut/Sunglass Hut https://en.m.wikipedia.org/wiki/Sunglass_Hut 6677.(Paint name change.)Dulex/Dulux(Do any of the logos look off?)(Do any of the other things named Dulux look off?) https://en.m.wikipedia.org/wiki/Dulux 6678.(Celebrity death that didn't happen.)Do you remember James Darren dying? https://en.m.wikipedia.org/wiki/James_Darren 6679.(Donut name change.)CrulleKruller(Was the former or the later not acceptable?)(Other spellings?)(Is the pronunciation off?)(Anything else off?) https://www.wuwm.com/post/cruller-or-kruller-however-you-spell-it-its-milwaukee-doughnut-staple#stream/0 6680.(Song name change.)The Point Of No Return/Point Of Know Return(Album too.)(Do any of their logos look off?) https://en.m.wikipedia.org/wiki/Point_of_Know_Return_(song) 6681.(Can't think of a title.)Have you heard of the Yosemite Firefall? https://en.m.wikipedia.org/wiki/Yosemite_Firefall 6682.(Can't think of a title.)Do you remember sting jets not being a thing? https://en.m.wikipedia.org/wiki/Sting_jet 6683.(Fictional Character name change.)Hercules Poirot/Hercule Poirot(Other spellings?) https://en.m.wikipedia.org/wiki/Hercule_Poirot 6684.(Celebrity death that didn't happen.)Do you remember Mumia Abu-Jamal being executed?(Anything else off?) https://en.m.wikipedia.org/wiki/Mumia_Abu-Jamal 6685.(Can't think of a title.)Do you remember sea creatures not being able to live or die in places far away from water such as rainforests? https://www.independent.co.uk/news/world/americas/humpback-whale-dead-amazon-jungle-brazil-rainforest-marajo-island-a8796016.html 6686.(Famous Actress name change.)Olivia Coleman/Olivia Colman(Was Colman never an acceptable spelling of Coleman?) https://en.m.wikipedia.org/wiki/Olivia_Colman 6687.(Company name change.)Harmon Kardon/harman/kardon(Anything else off?) https://en.m.wikipedia.org/wiki/Harman_Kardon 6688.(Famous Actress name change.)Beverly Owen/Beverley Owen(Was Beverley never an acceptable spelling of Beverly?) https://en.m.wikipedia.org/wiki/Beverley_Owen 6689.(Can't think of a title.)Do you remember ice tsunamis not being a thing? https://www.detroitnews.com/story/news/nation/2019/02/25/ice-tsunami-lake-erie-ontario/2977065002/ 6690.(Can't think of a title.)Do you remember Uffington White Horse not being a thing? https://en.m.wikipedia.org/wiki/Uffington_White_Horse 6691.(Celebrity death cause change.)Do you remember James Horner dying from an illness instead of a plane crash?(Anything else off?) https://en.m.wikipedia.org/wiki/James_Horner 6692.(Company Logo change.)Do you remember the letters in Carvana being normal? https://en.m.wikipedia.org/wiki/Carvana 6693.(Product name change.)Gravy Granuals/Gravy Granules(Other spellings?) https://www.amazon.com/Bisto-Chicken-Gravy-Granules-170g/dp/B000MOCUKW 6694.(Product name change.)Rizzla/Rizla(Anything else off?) https://en.m.wikipedia.org/wiki/Rizla 6695.(Product name change.)IWatch/iWatch(IPhone/iPhone)(IPad/iPad)(IPad/iPad)(IOS/iOS)(It keeps flipping.) https://en.m.wikipedia.org/wiki/Timeline_of_Apple_Inc._products 6696.(Can't think of a title.)Do you remember the credits in Goodfellas(Was the official GoodFellas and is the logo off?)being white instead of red?(Anything else off?) https://en.m.wikipedia.org/wiki/Goodfellas 6697.(Product name change.)Cindy/Sindy(Was Sindy never an acceptable spelling of Cindy?) https://en.m.wikipedia.org/wiki/Sindy 6698.(Can't think of a title.)Do you remember Casino Royale being the first James Bond film instead of Dr. No?(Anything else off?) https://en.m.wikipedia.org/wiki/Dr._No_(film) 6699.(Spelling change.)Tender Hook/Tenterhook https://en.m.wikipedia.org/wiki/Tenterhook Add-On: Do you remember Barbaar The Elephant or Barbar The Elephant instead of Babar The Elephant? https://en.m.wikipedia.org/wiki/Babar_the_Elephant Add-On: Do you remember Gobstoppers instead of Gobstopper? https://en.m.wikipedia.org/wiki/Gobstopper Add-On: Do you remember Big Bird's being yellow?(Anything else off?) https://en.m.wikipedia.org/wiki/Big_Bird 6700.(Product name change.)CD+CD-R(Any products with similar names off?) https://en.m.wikipedia.org/wiki/CD-R 6701.(Spelling change.)Bolognaise/Bolognese(Anything else off?) https://en.m.wikipedia.org/wiki/Bolognese_sauce 6702.(Can't think of a title.)Do you remember Dawn Of The Planet Of The Apes being set 8 years after instead of 10? https://en.m.wikipedia.org/wiki/Dawn_of_the_Planet_of_the_Apes 6703.(Spelling change.)Battle Ship/Battleship(War Ship/Warship)(Space Ship/Spaceship)(Battleships/Battleship board game) https://en.m.wikipedia.org/wiki/Battleship 6704.(Music Lyrics change.)"Ain't that a kick in the head."/"Ain't love like a kick in the head."(Anything else off?) https://genius.com/Dean-martin-aint-that-a-kick-in-the-head-lyrics 6705.(Spelling change.)Murial/Muriel/Mural https://en.m.wikipedia.org/wiki/Mural 6706.(Spelling change.)Broach/Brooch https://en.m.wikipedia.org/wiki/Brooch 6707.(Company name change.)RyannaiRyanair(Other spellings?) https://en.m.wikipedia.org/wiki/Ryanair 6708.(Phrase change.)Card Shark/Card Sharp https://en.m.wikipedia.org/wiki/Card_sharp 6709.(Movie name change.)The Wizard In Oz/The Wizard Of Oz(Dorthy/Dorothy)(Anything else about her name off?)(Somewhere Over The Rainbow/Over The Rainbow) https://en.m.wikipedia.org/wiki/The_Wizard_of_Oz_(1939_film) 6710.(Can't think of a title.)Do you remember food scented bath stuff not being a thing? https://www.seventeen.com/beauty/a12053757/pizza-bath-bombs/ 6711.(Can't think of a title.)Do you remember these things being different or not a thing?(Geochanges, weird mushrooms, sharknado, orange eyes,(Denny's, USPS, Burger King, Sherwin-Williams, Motel 6, and AutoZone)are all tilting and off logos, naked mole rats don't die of old age, pleomorphism, new giant tortoise types discovered, more bioluminescent animals, more weird light pillars, north and south Atlantic Ocean, north and south Pacific Ocean, Antarctic scale worm and other weird worms, jewel beetles, weird whales and whale changes, earthquakes with negative magnitudes, Indonesian village corpses, more weird land formations, humans glow in visible light, DMT and it occurs naturally, more weird immortal animals, Colorado river toad, Earth's atmosphere goes past the moon, Sphinx cat breed/Sphynx cat breed, Sargasso Sea, poisonous birds.)(Video below.) https://m.youtube.com/watch?v=PyTv_rIR8NI 6712.(History change.)Do you remember virtual reality not going as far back as the 1950's? https://en.m.wikipedia.org/wiki/Virtual_reality 6713.(Can't think of a title.)Do you remember bears never existing in Africa? https://en.m.wikipedia.org/wiki/Atlas_bear 6714.(Can't think of a title.)Do you remember spiders not being capable of dragging animals like opossums anywhere on their own? https://www.usatoday.com/story/news/2019/03/01/huge-spider-drags-opossum-video-amazon-rainforest/3026158002/ 6715.(Can't think of a title.)Do you remember the dodo going extinct because humans ate them instead of other animals eating them?(Was it something else?) https://www.alternatememories.com/historical-events/science/what-killed-the-dodo 6716.(Fictional Character appearance change.)Do you remember Mister Ed being a different type or different colored horse?(Anything else off?)(Was it always in black & white or just colored?) https://en.m.wikipedia.org/wiki/Mister_Ed 6717.(Can't think of a title.)Do you remember something about this Mary Poppins song being different? https://www.reddit.com/Retconned/comments/aw464mary_poppins_it_was_a_penny_family_me/ 6718.(Celebrity death date change.)Do you remember André(Andre?)Previn dying before February 28, 2019? https://en.m.wikipedia.org/wiki/André_Previn 6719.(Song name change.)MacArthur's Park/MacArthur Park(Do any of his logos off?)(Anything else off?) https://en.m.wikipedia.org/wiki/MacArthur_Park_(song) 6720.(Famous Actor name change.)Timothy Chalamet/Timothée Chalamet(Were Timothee, Timothée, Timotheé, and Timothéé never acceptable spellings of Timothy?) https://en.m.wikipedia.org/wiki/Timothée_Chalamet 6721.(Famous Tennis Player name change.)Gaël Montfils/Gaël Monfils(Other spellings?) https://en.m.wikipedia.org/wiki/Gaël_Monfils 6722.(Famous Tennis Player name change.)Stan Warwrinka/Stan Wawrinka(Other spellings?) https://en.m.wikipedia.org/wiki/Stan_Wawrinka 6723.(Famous Tennis Player name change.)Nick Kygrios/Nick Kyrgios(Other spellings?) https://en.m.wikipedia.org/wiki/Nick_Kyrgios 6724.(Famous Tennis Player name change.)Gabriñe Muguruza/Garbiñe Muguruza(Other spellings?) https://en.m.wikipedia.org/wiki/Garbiñe_Muguruza 6725.(Famous Tennis Player name change.)Alizée Cornet/Alizé Cornet(Other spellings?) https://en.m.wikipedia.org/wiki/Alizé_Cornet 6726.(Famous Tennis Player name change.)Steffi Graff/Steffi Graf(Other spellings?)(Are there other weird Stephanie and Stefan spellings?) https://en.m.wikipedia.org/wiki/Steffi_Graf 6727.(Famous Tennis Player name change.)Agnieszka Rodwańska/Agnieszka Radwańska(Other spellings?) https://en.m.wikipedia.org/wiki/Agnieszka_Radwańska 6728.(Famous Tennis Player name change.)Angelica KerbeAngelique Kerber(Other spellings?)(Are there other weird Angelica spellings?) https://en.m.wikipedia.org/wiki/Angelique_Kerber 6729.(Famous Tennis Player name change.)Sabina Lisicki/Sabine Lisicki(Other spellings?)(Was she a brunette instead of blonde?) https://en.m.wikipedia.org/wiki/Sabine_Lisicki 6730.(Fictional Character name change.)Mitch Buchanon/Mitch Buchannon(Other spellings?) https://en.m.wikipedia.org/wiki/Mitch_Buchannon 6731.(Famous Basketball Player name change.)Joachim Noah/Joakim Noah(Other spellings?) https://en.m.wikipedia.org/wiki/Joakim_Noah 6732.(Country name change.)QuataQatar(Other spellings?)(Is the pronunciation off?)(Anything else off?) https://en.m.wikipedia.org/wiki/Qatar 6733.(Famous Basketball Player name change.)Paul Gasol/Pau Gasol(Other spellings?)(Was Pau never an acceptable spelling of Paul?) https://en.m.wikipedia.org/wiki/Pau_Gasol 6734.(Famous Race Car Driver name change.)Sebastien Vettel/Sebastian Vettel(Was Sebastien never an acceptable spelling of Sebastian?)(Are there other weird Sebastian spellings?) https://en.m.wikipedia.org/wiki/Sebastian_Vettel 6735.(Town name change.)Marinello, Italy/Maranello, Italy(Other spellings?) https://en.m.wikipedia.org/wiki/Maranello 6736.(Famous Basketball Player name change.)Derek Rose/Derrick Rose(Was Derrick never an acceptable spelling of Derek?)(Are there other weird spellings of Derek?) https://en.m.wikipedia.org/wiki/Derrick_Rose 6737.(Celebrity death date change.)Do you remember Katherine Helmond dying earlier than February 23, 2019? https://en.m.wikipedia.org/wiki/Katherine_Helmond 6738.(Company Logo change.)Do you remember the Spread logo being different? https://seeklogo.com/free-vector-logos/spread 6739.(History change.)Do you remember the Boeing 314 Clipper not being a thing? https://en.m.wikipedia.org/wiki/Boeing_314_Clipper 6740.(History change.)Do you remember the hand mixer not being patented in 1856 and the first electric one not being invented in 1885? https://en.m.wikipedia.org/wiki/Hand_mixer 6741.(Fictional Character appearance change.)Do you remember Jaws' teeth being different? https://en.m.wikipedia.org/wiki/Jaws_(James_Bond) 6742.(Fictional Company name change.)The Daily Bugle/Daily Bugle https://en.m.wikipedia.org/wiki/Daily_Bugle 6743.(Fictional Company name change.)The Daily Planet/Daily Planet https://en.m.wikipedia.org/wiki/Daily_Planet 6744.(Slogan change.)"Nobody knows Easter better than Cadbury."/"Nobunny knows Easter better than Cadbury." http://fierceandnerdy.com/nobunny-knows-easter-better-than-cadbury-creme-eggs 6745.(Celebrity death that didn't happen.)Do you remember Tracey(Tracy?)Gold dying a while back?(Was Tracey never an acceptable spelling of Tracy?) https://en.m.wikipedia.org/wiki/Tracey_Gold 6746.(Can't think of a title.)Do you remember Coca-Cola not using Coca leaves in their recipe ever and all their ingredients in their formula being secret? https://m.youtube.com/watch?v=pV_4Miu5YC0 6747.(Can't think of a title.)Do you remember human bodies not reacting this way to things like leaf blowers? https://m.youtube.com/watch?v=un1f5BmYifY 6748.(Can't think of a title.)Do you remember "My glasses! I can't see without my glasses!" being said more often throughout Scooby-Doo?(Do you remember Scooby Doo's real name being Scooby instead of Scoobert?)(Do you remember Scooby Doo not having any other relatives other than Scrappy Doo?)(Anything else off?) https://m.youtube.com/watch?v=21JrNfPQB8A 6749.(Company name change.)Amtrack/Amtrak(Anything else off?) https://m.youtube.com/watch?v=FRlzofGEjq4 6750.(History change.)Do you remember the White House never burning down ever? https://en.m.wikipedia.org/wiki/Burning_of_Washington 6751.(Can't think of a title.)Do you remember elephants never being able to cry? https://www.mnn.com/earth-matters/animals/photos/12-facts-change-way-see-elephants/elephants-can-cry 6752.(Can't think of a title.)Do you remember parrots never being able to take or get addicted to things like opium? https://www.livescience.com/64908-parrots-poppy-farm-india.html 6753.(Famous Model name change.)Barbie Benton/Barbi Benton(Was Barbi never an acceptable spelling of Barbie?) https://en.m.wikipedia.org/wiki/Barbi_Benton 6754.(Famous Actor name change.)Bobby J. Thompson/Bobb'e J. Thompson(Other spellings?)(Was Bobb'e never an acceptable spelling of Bobby?)(Are there other weird Bobby spellings?) https://en.m.wikipedia.org/wiki/Bobb%27e_J._Thompson Add-On: Do you remember Edwin or Erich Schrödinger?(Other spellings?)(Were Caffe and Caffé never acceptable spellings of Café?) https://en.m.wikipedia.org/wiki/Erwin_Schrödinger 6755.(Famous Soccer Player name change.)Emre Belezoğlu/Emre Belözoğlu(Other spellings?) https://en.m.wikipedia.org/wiki/Emre_Belözoğlu 6756.(Famous Soccer Player name change.)Gerald Piqué/Gerard Piqué(Other spellings?) https://en.m.wikipedia.org/wiki/Gerard_Piqué 6757.(Famous Soccer Player name change.)Felipe Luís/Filipe Luís(Other spellings?) https://en.m.wikipedia.org/wiki/Filipe_Luís 6758.(Famous Soccer Player name change.)Carlos Valderama/Carlos Valderrama(Other spellings?) https://en.m.wikipedia.org/wiki/Carlos_Valderrama 6759.(Famous Soccer Player name change.)René Huiguita/René Higuita(Other spellings?) https://en.m.wikipedia.org/wiki/René_Higuita 6760.(Famous Soccer Player name change.)Graham LeSaux/Graeme Le Saux(Other spellings?) https://en.m.wikipedia.org/wiki/Graeme_Le_Saux 6761.(Famous Soccer Player name change.)Ferenc Puszkás/Ferenc Puskás(Other spellings?) https://en.m.wikipedia.org/wiki/Ferenc_Puskás 6762.(Famous Actress name change.)Stephanie Powers/Stefanie Powers(Other spellings?) https://en.m.wikipedia.org/wiki/Stefanie_Powers 6763.(Celebrity death that didn't happen.)Do you remember Dean Stockwell dying a while back? https://en.m.wikipedia.org/wiki/Dean_Stockwell 6764.(Song name change.)Believe/Still Believe(Are the lyrics off?)(Do any of her logos look off?)(Anything else off?) https://genius.com/Shola-ama-still-believe-lyrics 6765.(Girl Group name change.)Destiny Child/Destiny's Child(Do any of their logos look off?)(Were they never kniwn as Girl's Tyme?)(Were the members originally sisters instead of just being members?) https://en.m.wikipedia.org/wiki/Destiny's_Child 6766.(Celebrity death that didn't happen.)Do you remember One Man Gang dying? https://en.m.wikipedia.org/wiki/One_Man_Gang 6767.(Spelling change.)Twighlight/Twillight/Twilight(Other spellings?) https://www.dictionary.com/browse/twilight 6768.(Famous Actress name change.)Patsy Kenzit/Patsy Kensit(Other spellings?) https://en.m.wikipedia.org/wiki/Patsy_Kensit 6769.(Famous Actress name change.)Leslie-Ann Down/Lesley-Anne Down(Other spellings?)(Was Lesley never an acceptable spelling of Leslie?) https://en.m.wikipedia.org/wiki/Lesley-Anne_Down 6770.(Famous Actress name change.)Tiffany Thiessen/Tiffani Thiessen(Other spellings?)(Was Tiffani never an acceptable spelling of Tiffany?) https://en.m.wikipedia.org/wiki/Tiffani_Thiessen 6771.(Famous Producer name change.)Stephen J. Canell/Stephen J. Cannell(Other spellings?) https://en.m.wikipedia.org/wiki/Stephen_J._Cannell 6772.(Famous Actor name change.)Patrick McGohan/Patrick McGoohan(Other spellings?) https://en.m.wikipedia.org/wiki/Patrick_McGoohan 6773.(Famous Actor name change.)Martin Scorcese/Martin Scorsese(Other spellings?) https://en.m.wikipedia.org/wiki/Martin_Scorsese 6774.(Famous Actress name change.)Grey DeLeslie/Grey DeLisle(Other spellings?) https://en.m.wikipedia.org/wiki/Grey_DeLisle 6775.(Famous Actor name change.)Bill Faggerbake/Bill Fagerbakke(Other spellings?)(Was him name pronounced differently?) https://en.m.wikipedia.org/wiki/Bill_Fagerbakke 6776.(Famous Actor name change.)William Stylers/William Salyers(Other spellings?) https://en.m.wikipedia.org/wiki/William_Salyers 6777.(Candy name change.)Strawberry Flavour Laces/Strawberry Flavour Lances(Anything else off about Lances?) http://www.britishshopabroad.com/products/Tesco-Strawberry-Flavour-Lances-75G.html 6778.(Can't think of a title.)Do you remember Cole Sprouse being less popular than Dylan Sprouse when The Suote Life Of Zack & Cody was on and now? https://en.m.wikipedia.org/wiki/Cole_Sprouse 6779.(Celebrity death that didn't happen.)Do you remember Paul Young dying a while back?(Anything about him in Desperate Housewives off?)(Anything else off?) https://en.m.wikipedia.org/wiki/Paul_Young 6780.(Famous Cook name change.)Rachel Ray/Rachael Ray(Other spellings?)(Was Rachael never an acceptable spelling of Rachel?) https://en.m.wikipedia.org/wiki/Rachael_Ray 6781.(Famous Fashion Designer name change.)Vivian Westwood/Vivienne Westwood(Other spellings?)(How do you remember Vivian being spelled in general?) https://en.m.wikipedia.org/wiki/Vivienne_Westwood 6782.(Famous Soccer Player name change.)César Aczpilicueta/César Azpilicueta(Other spellings?) https://en.m.wikipedia.org/wiki/César_Azpilicueta 6783.(Famous Soccer Player name change.)Jermaine Defoe/Jermain Defoe(Other spellings?)(Was Jermain never an acceptable spelling of Jermaine?) https://en.m.wikipedia.org/wiki/Jermain_Defoe 6784.(Can't think of a title.)Do you remember these things being different or not a thing?(Ellora caves, petra and little petra, shrovetide, calcio storico, American Kidney Foundation/American Kidney Fund, Chichén Itzá, black sea under river, pattern on doe's back and other weird patterns on deer, more friendly wild animals, Michael Jackson dropped 50 feet to stage in an accident, Isaiah 11:8 changes again, more on harpy eagle, Ford logo is now tilting, Honda logo has changed again, polycephalic everything, weird elephant parts, gaboon viper that moves like a caterpillar, pattern change on raccoon and panda eyes, naked foal syndrome, more geography changes, Great lakes keep changing, guy with large hairy birthmark and two children with weird birth defects, weird looking cat with white coloration, 12 finger family, Neanderthals may have been smarter than we think, more anatomy changes, Quetzacoatl(Was it spelled differently?), rabbit without hair, when student doctors remove your appendix, 1939 ghost Pontiac, Marie Curie and everything about her, shark with bioluminescent nose, mice can sing.)(Video below.) https://m.youtube.com/watch?v=ECK3It0xRm0 6785.(Can't think of a title.)Do you remember transgender people not being able to give birth? https://www.oregonlive.com/pacific-northwest-news/2017/08/transgender_man_gives_birth_to.html 6786.(Can't think of a title.)Do you remember little Grand Canyon-like structures not being a thing? https://www.roadsideamerica.com/story/11723 6787.(Can't think of a title.)Do you remember teacup pigs being their own separate species and not just being very small and/or underfed pigs? https://www.thedodo.com/do-teacup-pigs-really-exist-1108738621.html 6788.(Theme Song Lyrics change.)"I love Wisconsin!"/"Hello Wisconsin!"(Was it Kelso or Eric that said it and not Hyde?) https://m.youtube.com/watch?v=yZFdKW43yGM 6789.(Can't think of a title.)Do you remember bumblebees not being endangered? https://news.nationalgeographic.com/2017/03/bumblebees-endangered-extinction-united-states/ 6790.(Movie name change.)The Naked Gun 33 1/2: The Final Insult/Naked Gun 33 1/2: The Final Insult https://en.m.wikipedia.org/wiki/Naked_Gun_33⅓:_The_Final_Insult 6791.(Can't think of a title.)Do you remember 1950's breakfast stations not being a thing? https://www.wideopeneats.com/3-in-1-retro-breakfast-station/ 6792.(Can't think of a title.)Do you remember the first mall in America not opening as early as 1956?(Anything else off?) https://en.m.wikipedia.org/wiki/Southdale_Center 6793.(Phrase change.)"Not your circus. Not your clowns."/"Not my circus. Not my clowns."(Anything else off?) https://en.m.wiktionary.org/wiki/not_my_circus,_not_my_monkeys 6794.(Can't think of a title.)Do you remember Alaska not having a rainforest?(Were there no rainforests in North America at all?)(Anything else off?) http://www.glacierbayalaska.com/rainforest-of-southeast-alaska/ 6795.(Can't think of a title.)Do you remember Della Duck not existing? https://disney.fandom.com/wiki/Della_Duck 6796.(Fictional Character name change.)Do you remember Inspector Gadget's real name being Don Brown or John Brown? https://inspectorgadget.fandom.com/wiki/Inspector_Gadget_(character) 6797.(Music Lyrics change.)"Things in common?"/"Thing in common?"("Cuz opposites attract."/"'Cause opposites attract.")(Anything else off?)(Do any of her logos look off?) https://genius.com/Paula-abdul-opposites-attract-lyrics 6798.(Logo change.)Do you remember the Fair Use logo not being connected? https://upload.wikimedia.org/wikipedia/commons/thumb/7/78/Fair_use_logo.svg/1024px-Fair_use_logo.svg.png 6799.(Music Lyrics change.)"What am I supposed to do when the best part of me was always you?"/"What am I gonna do when the best part of me was always you?"(Anything else off?)(Do any of their logos look off?) https://genius.com/The-script-breakeven-lyrics 6800.(Comic Series name change.)Calvin And Hobbs/Calvin And Hobbes(Anything else off?) https://en.m.wikipedia.org/wiki/Calvin_and_Hobbes 6801.(Abbreviation change.)Auto Immune Deficiency Syndrome/Aquired Immune Deficiency Virus http://sfaf.org/hiv-info/basics/what-do-the-acronyms-hiv-and-aids-stand-for.html 6802.(T.V. Shiw name change.)Beverly Hills 92010/Beverly Hills, 90210 https://en.m.wikipedia.org/wiki/Beverly_Hills,_90210 6803.(Famous Actress name change.)Ellen Paige/Ellen Page https://en.m.wikipedia.org/wiki/Ellen_Page 6804.(Famous Director name change.)Howard Hawk/Howard Hawks https://en.m.wikipedia.org/wiki/Howard_Hawks 6805.(Famous Soccer Player name change.)Mark Clattenberg/Mark Clattenburg(Other spellings?) https://en.m.wikipedia.org/wiki/Mark_Clattenburg 6806.(Famous Referee name change.)Pierluigi Colina/Pierluigi Collina(Other spellings?) https://en.m.wikipedia.org/wiki/Pierluigi_Collina 6807.(Famous Soccer Player name change.)Phillipe Coutinho/Philippe Coutinho(Other spellings?)(How do you remember Philippe being spelled in general?) https://en.m.wikipedia.org/wiki/Philippe_Coutinho 6808.(Famous Soccer Player name change.)Jessy Lingard/Jesse Lingard(Other spellings?)(How do you remember Jesse being spelled in general?) https://en.m.wikipedia.org/wiki/Jesse_Lingard 6809.(Famous Singer name change.)Lauren Hill/Lauryn Hill(Other spellings?) https://en.m.wikipedia.org/wiki/Lauryn_Hill 6810.(Famous Singer name change.)Phil Colins/Phil Collins(Other spellings?)(How do you remember Collin or Collins being spelled in general?) https://en.m.wikipedia.org/wiki/Phil_Collins 6811.(Famous Composer name change.)Wolfgang Amadeus MozaWolfgang Amadeus Mozart(Other spellings?) https://en.m.wikipedia.org/wiki/Wolfgang_Amadeus_Mozart 6812.(Theme Song Lyrics change.)"Come and listen to a story about a man named Jed."/"Come and listen to my story about a man named Jed ." https://www.lyricsondemand.com/tvthemes/beverlyhillbillieslyrics.html 6813.(Can't think of a title.)Do you remember Jam Session by Heavy D and The Notorious B.I.G. not existing? https://genius.com/Heavy-d-jam-session-lyrics 6814.(Can't think of a to title.)Do you remember the music video for Puffin On Blunts And Drankin' Tanqueray not existing? https://www.google.com/amp/s/genius.com/amp/Dr-dre-puffin-on-blunts-and-drankin-tanqueray-lyrics 6815.(Can't think of a title.)Do you remember Barbie only having a first name and not a middle or last one? https://www.goodhousekeeping.com/life/a19863360/barbie-last-name/ 6816.(Celebrity death date change.)Do you remember Jan-Michael Vincent dying earlier than February 10, 2019? https://en.m.wikipedia.org/wiki/Jan-Michael_Vincent 6817.(State name change.)Okhlahoma/Oklahoma(Other spellings?) https://en.m.wikipedia.org/wiki/Oklahoma 6818.(City name change.)Passadena, California/Pasadena, California(Other spellings?) https://en.m.wikipedia.org/wiki/Pasadena,_California 6819.(City name change.)Norwitch/Norwich(Other spellings?)(Multiple places.) https://en.m.wikipedia.org/wiki/Norwich 6820.(Town name change.)Ipswitch/Ipswich(Other spellings?) https://en.m.wikipedia.org/wiki/Ipswich 6821.(Village name change.)Amytiville, New York/Amityville, New York(Other spellings?) https://en.m.wikipedia.org/wiki/Amityville,_New_York 6822.(Famous Actor name change.)Rob SteigeRod Steiger(Other spellings?) https://en.m.wikipedia.org/wiki/Rod_Steiger 6823.(Famous Actress name change.)Judy Gardland/Judy Garland(Other spellings?) https://en.m.wikipedia.org/wiki/Judy_Garland
Do we really need another Martin Scorsese gangster movie?
Hi everyone The Irishman will mark the fourth time director Martin Scorsese has made an Italian Mafia movie starring Robert De Niro in a major role. I wanted to take this opportunity to have a look at Scorsese’s gangster pictures through the years, and explore The Irishman’s relationship with the previous films. Do we really need another mafia film? What can the upcoming crime film add to Scorsese’s résumé that hasn’t already been done? My personal hope is that The Irishman is more thought provoking than the previous 3 films. The most interesting thing for me is the 'old man/aging gangster' aspect about Frank Sheeran looking back on his life. It ties nicely with mean Streets being about lowlife degenerates, Goodfellas about middle-of-the-pack hoods, and Casino about made men. This whole thing comes full circle with the aged men looking back on their lives. I made the below video briefly looking at the relationship between the 3 main gangster movies that Scorsese has done, and what potentially The Irishman could bring to the table, validating its existence: www.youtube.com/watch?v=O2qnx_S0MTQ I'd be happy to hear your thoughts and criticisms. If you prefer to read instead of watching the video, I wrote it up here: It must say something about how good Martin Scorsese’s mafia movies are when this director of over 25 feature length films is often only remembered by some as a director of mob flicks. In reality he has only made 3, with one more on the way – The Irishman. I wanted to have a look at the upcoming picture, and see how it could relate to Scorsese’s crime resume, and what, if anything, it could add to a group of movies that already have said so much. In 1973, up and coming director Scorsese cemented himself as someone to watch with the visceral and fierce crime film Mean Streets, about a duo of hoodlums growing up in Little Italy, where Scorsese himself lived his youth in. What we saw on screen had an improvisational feel to it, like all the mundane conversations, date nights and bar fights were really happening, and we just happened to be there. But the chaos was being puppeteer by a future master, suggested by the way this film was shot and edited. Rock n Roll, long takes, ultraviolence and whip pans were just some of the few elements, in addition to themes of machismo and catholic guilt, that would go on to be staple Scorsese trademarks. The film dealt with degenerates and scumbags, and yet they were human. In some cases they were even charismatic, their lifestyle inviting, but ultimately Scorsese would pull the plug on this romantic fantasy that was the mob way of life, and unleash chaos in the final third of the movie. The film had a dirty feel…gritty and rough around the edges. It had a feel of something trying to burst out and move away from the piss-stained and littered sidewalks, trying to be something different and to stand out, much like the main character and the man behind the camera. Scorsese had poured personal dilemmas and his own internal conflicts into this movie, and it been suggested that we could see the main character as Scorsese himself in his earlier days. Something interesting to note was the movie’s lack of plot. If you had to explain what happens in the movie in a couple of sentences, what would you say? It’s difficult. Scorsese has said that he does not pay a great deal of attention to plot, in fact he claims The Departed made in 2006 is the first movie he ever made with a plot. Rather his attention is fixated on character. And Mean Streets, despite being directed by a no name starring no names on a shoe string budget, has great characters. Characters that feel real. Characters who don’t move or act for the sake of the plot or sequences of events, but rather their emotions and interactions are the centrepiece of the film, a core element without which Mean Streets doesn’t exist. With this movie, it isn’t ‘such and such happens’, then ‘such and such happens’ and because ‘such and such happens’ ‘such and such happens’. Cause and effect is thrown out the window, replaced with an emphasis on what is said, what isn’t said, what is meant, what is this character feeling, how is this character changing, if you put these two characters in a room together and lock the door, what will happen? When the characters are strong enough as they are in Mean Streets, who needs a plot? Let the characters take it away. The style in which Scorsese directed Mean Streets, the beautiful marriage of music and images, coarse and jagged though admirable, was perfected by the time he revisited that world with the incredible Goodfellas. Again, the mob life feels entrancing and inviting, and again it is shown to be ruthless and ultimately not rewarding. A generation who had grown up on gangster films showcasing mobsters as operatic and tragic figures, almost samurai like, were given a slap to the face and a gun to the head with the captivating but punishing 1990 picture. Nowhere is the essence of this best summarised than Henry Hill’s chuffed explanation as to why the gangster Tommy DeVito being ‘made’ was such a great thing. The movie lures you in through a combination of great acting, a blissful soundtrack and a genuine sense of happiness for these crooks – no matter what they are, and the things they’ve done, in this moment in time we feel their joy. And then – bang. Out of nowhere Tommy is 'whacked'. There’s your gangster life. See yourself out. Despite the obvious dangerous nature of the mob world, we can’t help but feel seduced at the lifestyle, reconstructed so brilliantly by Scorsese. When Henry Hill peers down from his windows at these mobsters, as an asthma-stricken and bedroom confined Scorsese must have once done atop the streets of Little Italy, we are right there with him, hopping along with him on this doomed fairy-tale. Henry represents us, the ever outsider, looking in on this world but never really fitting in. He’s unable, given his bloodline, but disregarding that Henry is closer to us than we are to any of the rest of the characters. He shares our bemusement when Tommy, after beating a man almost to death, is worried that he spilled blood on floor of the club owned by Henry, or when the crew of gangsters show more concern about digging a hole to throw a murdered bartender in, as opposed to actually murdering him in the first place. Goodfellas is easier to be immersed into than Mean Streets, not just because of the improvement of the craft, but because of this character of Henry, who acts as our window into this world where bloodshed is an everyday occurrence. And like Mean Streets, though things seems to not be so bad on the whole, the veil is lifted towards the end of the film. Paranoid, tense, and anxious are just a few of the ways to describe Henry in the last half an hour of the film, and the kinetic and coked-up style the film goes in, accelerating to his inevitable downfall, and the ironic ending. Now the fairy-tale is over, he can’t stop thinking about the life, ignorant to the fact that he should be happy to be alive, not spend his time complaining about egg-noodle and ketchup. The wiseguys in this film are of a different calibre to Mean Streets, a step up. Where those guys were merely hoodlums, street thugs with dead end prospects, the characters in Goodfellas are a step up. They are the money earners, the guys sticking their head out of the water trying to avoid jail time, a bullet to the head, in the hope of being made and officially recognised as part of a crime syndicate. What about those who are actually in a crime syndicate then? Enter Casino. These guys were certified Mafioso. The bosses. Pretty much as high as you could go, the very people who would be in charge of the level of mobsters in Goodfellas. The income is better, the power more influential, the stakes higher…but the mistakes made by those in the film are just as prevalent as the low level thugs of the previous films, and in the end it topples an entire empire. The technique and style that was used for Casino was very similar to Scorsese’s 1990 Oscar nominated film, which drew criticism from critics at the time, claiming the film was basically Goodfellas in Las Vegas. With that in mind, I think the film was quite symbolic in the sense that some of his favorite themes, mainly greed, are elevated and bought to the forefront. Henry is touching the waters in Goodfellas, sometimes just trying to stay alive, keep his sate constant, but here the primary characters much like Scorsese himself are indulging in their wants to the fullest. Scorsese was at the height of his power here, and it’s fitting that he makes a movie about the mob at their highest peak too. If the question in goodfellas is why would someone want to join the mob, and how does one do so, then the question in Casino is what happens once you’ve made it, and how on earth do you mess something like that up? Scorsese said about Casino that it is “essentially having no plot, it’s all about character”, another link to the previous 2 movies. Though Goodfellas is almost unanimously touted as the better film, Casino is not to be dismissed. In fact it touches on things that its predecessor does not. As stated the theme of greed is front and centre, and even arguably the greed of the film-makers and studios for entering this world again after only 5 years. There’s something about the film the screams excess, indulgence and in relation to the development of the characters’ lives, the false hope, the dangling bait that is the American dream. Yes, I always felt that Casino had a tragic element to it. It’s difficult to put the finger on what exactly gets me to feel this way – perhaps it’s the church choir the movie’s opening titles are accompanied with, perhaps its seeing these characters waste away such an amazing gift in life as effortlessly as they received it in the first place, or perhaps it’s just the fact that the mob life, on screen at least, always seems to be accompanied by a sense of tragedy full stop. Crime and cinema has always been fascinatingly linked, going back to what was one of the first narrative films ever made with The Great Train Robbery, which is homage at the end of Goodfellas. What is it about these characters, this way of live that is so inviting, attractive and appealing? I’m in no way educated enough to properly articulate just what appeals to me about these kind of films, but perhaps it is this screen, this camera, this barrier which separates us from the violence and death, giving us peace of mind and allowing us to be entertained, to enter a world of crime without consequences for ourselves, a bit like how going on a rollercoaster ride is like experiencing the thrill of a car crash without the danger, or watching a serial killer movie for the excitement without the fear of death that would accompany actually being stalked. Either way, what is ultimately tragic, for me at least, is that Casino was the last of the great American crime movies. Yes there were some good ones that came after, like Donnie Brasco or American Gangster, but nothing quite touched the level of Casino. Scorsese never made a film as good as, De Niro or Pesci never made a film as good as. The genre came to an abrupt close, with most modern crime films like Gangster Squad coming and going without any real significance. With mainstream movies adjusting to become politically correct, it doesn’t seem the gangster genre is even welcome on the big screen anymore. This is why The Irishman is so important to me. It’s another film, despite the cast and director, that never really got to the big screen, instead being produced by the streaming service Netflix. But this film, for me, will act as the curtain closer, the swansong of a genre that didn’t really get one before it died. It becomes even more perfect that the golden generation of De Niro, Pesci and Keitel will return, and Al Pacino and Marty will work together for the first time. The old guard will all slip back into Mafioso roles, whilst newcomer Pacino will instead play the outside Jimmy Hoffa, a fitting placement given his detachment to Scorsese compared to the rest of the cast. It’s a movie that will hopefully be the most mature and though provoking of the four films, focusing on the days after the heyday. What happened to Charlie after the attack on him and his friend Johnny Boy at the end of Mean Streets? What happened after Henry closed the door of his cheap home off a construction site in the middle of nowhere at the end of Goodfellas. Those periods in the men’s lives were never explored, but here with the life of Frank Sheeran we will take a trip down memory lane with him through the highs and lows. But after the business successes and the flourishing mob connections, eventually everyone he would come to know such as Russell Buffalino and Angelo Bruno would die, and we’d be left with a frail old man looking back on his life, a life in which he is supposed to have murdered over 2 dozen people. This, surely, will be where the heart of Scorsese’s film will be. Sheeran’s real life confession was prompted by a wish for attornment for his sins, which harks back to our protagonist Charlie in Mean Streets, and his juggling of his religious dilemma and his criminal lifestyle. We had the lowlife thugs, we had the middle of the park hoods, we had the bosses of bosses, and now we have the film centred on aging, elderly gangsters, past their primes looking back at the glory days of their zeniths. It’s only fitting then, that a selection of actors and a director known for these kind of movies will portray these characters, all of whom which are also past their prime and thus Scorsese’s gangster resume comes full circle.
Do we really need another Martin Scorsese gangster movie?
Hi everyone The Irishman will mark the fourth time director Martin Scorsese has made an Italian Mafia movie starring Robert De Niro in a major role. I wanted to take this opportunity to have a look at Scorsese’s gangster pictures through the years, and explore The Irishman’s relationship with the previous films. Do we really need another mafia film? What can the upcoming crime film add to Scorsese’s résumé that hasn’t already been done? My personal hope is that The Irishman is more thought provoking than the previous 3 films. The most interesting thing for me is the 'old man/aging gangster' aspect about Frank Sheeran looking back on his life. It ties nicely with mean Streets being about lowlife degenerates, Goodfellas about middle-of-the-pack hoods, and Casino about made men. This whole thing comes full circle with the aged men looking back on their lives. I made the below video briefly looking at the relationship between the 3 main gangster movies that Scorsese has done, and what potentially The Irishman could bring to the table, validating its existence: www.youtube.com/watch?v=O2qnx_S0MTQ I'd be happy to hear your thoughts and criticisms. If you prefer to read instead of watching the video, I wrote it up here: It must say something about how good Martin Scorsese’s mafia movies are when this director of over 25 feature length films is often only remembered by some as a director of mob flicks. In reality he has only made 3, with one more on the way – The Irishman. I wanted to have a look at the upcoming picture, and see how it could relate to Scorsese’s crime resume, and what, if anything, it could add to a group of movies that already have said so much. In 1973, up and coming director Scorsese cemented himself as someone to watch with the visceral and fierce crime film Mean Streets, about a duo of hoodlums growing up in Little Italy, where Scorsese himself lived his youth in. What we saw on screen had an improvisational feel to it, like all the mundane conversations, date nights and bar fights were really happening, and we just happened to be there. But the chaos was being puppeteer by a future master, suggested by the way this film was shot and edited. Rock n Roll, long takes, ultraviolence and whip pans were just some of the few elements, in addition to themes of machismo and catholic guilt, that would go on to be staple Scorsese trademarks. The film dealt with degenerates and scumbags, and yet they were human. In some cases they were even charismatic, their lifestyle inviting, but ultimately Scorsese would pull the plug on this romantic fantasy that was the mob way of life, and unleash chaos in the final third of the movie. The film had a dirty feel…gritty and rough around the edges. It had a feel of something trying to burst out and move away from the piss-stained and littered sidewalks, trying to be something different and to stand out, much like the main character and the man behind the camera. Scorsese had poured personal dilemmas and his own internal conflicts into this movie, and it been suggested that we could see the main character as Scorsese himself in his earlier days. Something interesting to note was the movie’s lack of plot. If you had to explain what happens in the movie in a couple of sentences, what would you say? It’s difficult. Scorsese has said that he does not pay a great deal of attention to plot, in fact he claims The Departed made in 2006 is the first movie he ever made with a plot. Rather his attention is fixated on character. And Mean Streets, despite being directed by a no name starring no names on a shoe string budget, has great characters. Characters that feel real. Characters who don’t move or act for the sake of the plot or sequences of events, but rather their emotions and interactions are the centrepiece of the film, a core element without which Mean Streets doesn’t exist. With this movie, it isn’t ‘such and such happens’, then ‘such and such happens’ and because ‘such and such happens’ ‘such and such happens’. Cause and effect is thrown out the window, replaced with an emphasis on what is said, what isn’t said, what is meant, what is this character feeling, how is this character changing, if you put these two characters in a room together and lock the door, what will happen? When the characters are strong enough as they are in Mean Streets, who needs a plot? Let the characters take it away. The style in which Scorsese directed Mean Streets, the beautiful marriage of music and images, coarse and jagged though admirable, was perfected by the time he revisited that world with the incredible Goodfellas. Again, the mob life feels entrancing and inviting, and again it is shown to be ruthless and ultimately not rewarding. A generation who had grown up on gangster films showcasing mobsters as operatic and tragic figures, almost samurai like, were given a slap to the face and a gun to the head with the captivating but punishing 1990 picture. Nowhere is the essence of this best summarised than Henry Hill’s chuffed explanation as to why the gangster Tommy DeVito being ‘made’ was such a great thing. The movie lures you in through a combination of great acting, a blissful soundtrack and a genuine sense of happiness for these crooks – no matter what they are, and the things they’ve done, in this moment in time we feel their joy. And then – bang. Out of nowhere Tommy is 'whacked'. There’s your gangster life. See yourself out. Despite the obvious dangerous nature of the mob world, we can’t help but feel seduced at the lifestyle, reconstructed so brilliantly by Scorsese. When Henry Hill peers down from his windows at these mobsters, as an asthma-stricken and bedroom confined Scorsese must have once done atop the streets of Little Italy, we are right there with him, hopping along with him on this doomed fairy-tale. Henry represents us, the ever outsider, looking in on this world but never really fitting in. He’s unable, given his bloodline, but disregarding that Henry is closer to us than we are to any of the rest of the characters. He shares our bemusement when Tommy, after beating a man almost to death, is worried that he spilled blood on floor of the club owned by Henry, or when the crew of gangsters show more concern about digging a hole to throw a murdered bartender in, as opposed to actually murdering him in the first place. Goodfellas is easier to be immersed into than Mean Streets, not just because of the improvement of the craft, but because of this character of Henry, who acts as our window into this world where bloodshed is an everyday occurrence. And like Mean Streets, though things seems to not be so bad on the whole, the veil is lifted towards the end of the film. Paranoid, tense, and anxious are just a few of the ways to describe Henry in the last half an hour of the film, and the kinetic and coked-up style the film goes in, accelerating to his inevitable downfall, and the ironic ending. Now the fairy-tale is over, he can’t stop thinking about the life, ignorant to the fact that he should be happy to be alive, not spend his time complaining about egg-noodle and ketchup. The wiseguys in this film are of a different calibre to Mean Streets, a step up. Where those guys were merely hoodlums, street thugs with dead end prospects, the characters in Goodfellas are a step up. They are the money earners, the guys sticking their head out of the water trying to avoid jail time, a bullet to the head, in the hope of being made and officially recognised as part of a crime syndicate. What about those who are actually in a crime syndicate then? Enter Casino. These guys were certified Mafioso. The bosses. Pretty much as high as you could go, the very people who would be in charge of the level of mobsters in Goodfellas. The income is better, the power more influential, the stakes higher…but the mistakes made by those in the film are just as prevalent as the low level thugs of the previous films, and in the end it topples an entire empire. The technique and style that was used for Casino was very similar to Scorsese’s 1990 Oscar nominated film, which drew criticism from critics at the time, claiming the film was basically Goodfellas in Las Vegas. With that in mind, I think the film was quite symbolic in the sense that some of his favorite themes, mainly greed, are elevated and bought to the forefront. Henry is touching the waters in Goodfellas, sometimes just trying to stay alive, keep his sate constant, but here the primary characters much like Scorsese himself are indulging in their wants to the fullest. Scorsese was at the height of his power here, and it’s fitting that he makes a movie about the mob at their highest peak too. If the question in goodfellas is why would someone want to join the mob, and how does one do so, then the question in Casino is what happens once you’ve made it, and how on earth do you mess something like that up? Scorsese said about Casino that it is “essentially having no plot, it’s all about character”, another link to the previous 2 movies. Though Goodfellas is almost unanimously touted as the better film, Casino is not to be dismissed. In fact it touches on things that its predecessor does not. As stated the theme of greed is front and centre, and even arguably the greed of the film-makers and studios for entering this world again after only 5 years. There’s something about the film the screams excess, indulgence and in relation to the development of the characters’ lives, the false hope, the dangling bait that is the American dream. Yes, I always felt that Casino had a tragic element to it. It’s difficult to put the finger on what exactly gets me to feel this way – perhaps it’s the church choir the movie’s opening titles are accompanied with, perhaps its seeing these characters waste away such an amazing gift in life as effortlessly as they received it in the first place, or perhaps it’s just the fact that the mob life, on screen at least, always seems to be accompanied by a sense of tragedy full stop. Crime and cinema has always been fascinatingly linked, going back to what was one of the first narrative films ever made with The Great Train Robbery, which is homage at the end of Goodfellas. What is it about these characters, this way of live that is so inviting, attractive and appealing? I’m in no way educated enough to properly articulate just what appeals to me about these kind of films, but perhaps it is this screen, this camera, this barrier which separates us from the violence and death, giving us peace of mind and allowing us to be entertained, to enter a world of crime without consequences for ourselves, a bit like how going on a rollercoaster ride is like experiencing the thrill of a car crash without the danger, or watching a serial killer movie for the excitement without the fear of death that would accompany actually being stalked. Either way, what is ultimately tragic, for me at least, is that Casino was the last of the great American crime movies. Yes there were some good ones that came after, like Donnie Brasco or American Gangster, but nothing quite touched the level of Casino. Scorsese never made a film as good as, De Niro or Pesci never made a film as good as. The genre came to an abrupt close, with most modern crime films like Gangster Squad coming and going without any real significance. With mainstream movies adjusting to become politically correct, it doesn’t seem the gangster genre is even welcome on the big screen anymore. This is why The Irishman is so important to me. It’s another film, despite the cast and director, that never really got to the big screen, instead being produced by the streaming service Netflix. But this film, for me, will act as the curtain closer, the swansong of a genre that didn’t really get one before it died. It becomes even more perfect that the golden generation of De Niro, Pesci and Keitel will return, and Al Pacino and Marty will work together for the first time. The old guard will all slip back into Mafioso roles, whilst newcomer Pacino will instead play the outside Jimmy Hoffa, a fitting placement given his detachment to Scorsese compared to the rest of the cast. It’s a movie that will hopefully be the most mature and though provoking of the four films, focusing on the days after the heyday. What happened to Charlie after the attack on him and his friend Johnny Boy at the end of Mean Streets? What happened after Henry closed the door of his cheap home off a construction site in the middle of nowhere at the end of Goodfellas. Those periods in the men’s lives were never explored, but here with the life of Frank Sheeran we will take a trip down memory lane with him through the highs and lows. But after the business successes and the flourishing mob connections, eventually everyone he would come to know such as Russell Buffalino and Angelo Bruno would die, and we’d be left with a frail old man looking back on his life, a life in which he is supposed to have murdered over 2 dozen people. This, surely, will be where the heart of Scorsese’s film will be. Sheeran’s real life confession was prompted by a wish for attornment for his sins, which harks back to our protagonist Charlie in Mean Streets, and his juggling of his religious dilemma and his criminal lifestyle. We had the lowlife thugs, we had the middle of the park hoods, we had the bosses of bosses, and now we have the film centred on aging, elderly gangsters, past their primes looking back at the glory days of their zeniths. It’s only fitting then, that a selection of actors and a director known for these kind of movies will portray these characters, all of whom which are also past their prime and thus Scorsese’s gangster resume comes full circle.
If Best Picture Was Decided by Critic Polls (1940-2011)
Using the famed (and recently updated) TSPDT Top 1000 list, I did this fun little project to give some perspective on what critics with hindsight and a wider variety of films believe were the best of the year. Just a note, this is from a critic POLL, so if you get angry about these choices, they weren't made by any specific critic. And you can't really get angry at critics as a whole, because lists like this don't take into account how much some critics hated the film, only how much others loved it. So keep the anger inside, and let's just discuss like rational human beings. With that done, let's begin: 1940 Winner: His Girl Friday (Howard Hawks) Other Nominations: The Grapes of Wrath (John Ford), The Great Dictator (Charlie Chaplin), The Shop Around the Corner (Ernst Lubitsch), The Philadelphia Story (George Cukor) 1941 Winner: Citizen Kane (Orson Welles) Other Nominations: The Lady Eve (Preston Sturges), Sullivan's Travels (Preston Sturges), The Maltese Falcon (John Huston), How Green Was My Valley (John Ford) 1942 Winner: Casablanca (Michael Curtiz) Other Nominations: The Magnificent Ambersons (Orson Welles), To Be or Not to Be (Ernst Lubitsch), The Palm Beach Story (Preston Sturges), Cat People (Jacques Tourneur) 1943 Winner: The Life and Death of Colonel Blimp (Powell and Pressburger) Other Nominations: Day of Wrath (Carl Theodor Dreyer), Shadow of a Doubt (Alfred Hitchcock), I Walked with a Zombie (Jacques Tourneur), Ossessione (Luchino Visconti) 1944 Winner: Double Indemnity (Billy Wilder) Other Nominations: Meet Me in St. Louis (Vincente Minnelli), Ivan the Terrible Part I (Sergei Eisenstein), A Canterbury Tale (Powell and Pressburger), Laura (Otto Preminger) 1945 Winner: Les Enfants du Paradis (Marcel Carne) Other Nominations: Rome Open City (Roberto Rossellini), Brief Encounter (David Lean), I Know Where I'm Going (Powell and Pressburger), Detour (Edgar Ulmer) 1946 Winner: It's a Wonderful Life (Frank Capra) Other Nominations: Notorious (Alfred Hitchcock), A Matter of Life and Death (Powell and Pressburger), My Darling Clementine (John Ford), The Best Years of Our Lives (William Wyler) 1947 (Despite the great nominations, it was a horrible year for film) Winner: Out of the Past (Jacques Tourneur) Other Nominees: Germany Year Zero (Roberto Rossellini), Monsieur Verdoux (Charlie Chaplin), The Ghost and Mrs. Muir (Joseph Mankiewicz), Odd Man Out (Carol Reed) 1948 Winner: Bicycle Thieves (Vittorio De Sica) Other Nominations: Letter from an Unknown Woman (Max Ophuls), Spring in a Small Town (Fei Mu), The Red Shoes (Powell and Pressburger), Red River (Howard Hawks) 1949 Winner: The Third Man (Carol Reed) Other Nominations: Late Spring (Yasujiro Ozu), Kind Hearts and Coronets (Robert Hamer), Stromboli (Roberto Rossellini), Gun Crazy (Joseph Lewis) 1950 Winner: Rashomon (Akira Kurosawa) Other Nominations: Sunset Boulevard (Billy Wilder), All About Eve (Joseph Mankiewicz), Los Olvidados (Luis Bunuel), Diary of a Country Priest (Robert Bresson) 1951 Winner: The River (Jean Renoir) Other Nominations: Le Plaisir (Max Ophuls), Strangers on a Train (Alfred Hitchcock), Miracle in Milan (Vittorio De Sica), Early Summer (Yasujiro Ozu) 1952 Winner: Singin' in the Rain (Stanley Donen and Gene Kelly) Other Nominations: Ikiru (Akira Kurosawa), Umberto D. (Vittorio De Sica), The Quiet Man (John Ford), The Life of Oharu (Kenji Mizoguchi) 1953 Winner: Tokyo Story (Yasujiro Ozu) Other Nominations: Ugetsu Monogatari (Kenji Mizoguchi), Voyage in Italy (Roberto Rossellini), The Earrings of Madame de... (Max Ophuls), The Band Wagon (Vincente Minnelli) 1954 Winner: Seven Samurai (Akira Kurosawa) Other Nominations: Rear Window (Alfred Hitchcock), La Strada (Federico Fellini), Sansho the Baliff (Kenji Mizoguchi), On the Waterfront (Elia Kazan) 1955 Winner: Ordet (Carl Theodor Dreyer) Other Nominations: The Night of the Hunter (Charles Laughton), Pather Panchali (Satyajit Ray), Floating Clouds (Mikio Naruse), Lola Montes (Max Ophuls) 1956 Winner: The Searchers (John Ford) Other Nominations: A Man Escaped (Robert Bresson), Written on the Wind (Douglas Sirk), The Killing (Stanley Kubrick), Aparajito (Satyjit Ray) 1957 Winner: Wild Strawberries (Ingmar Bergman) Other Nominations: The Seventh Seal (Ingmar Bergman), Sweet Smell of Success (Alexander Mackendrick), Nights of Cabiria (Federico Fellini), Paths of Glory (Stanley Kubrick) 1958 Winner: Vertigo (Alfred Hitchcock) Other Nominations: Touch of Evil (Orson Welles), Ashes and Diamonds (Andrzej Wajda), The Music Room (Satyjit Ray), Mon Oncle (Jacques Tati) 1959 Winner: The 400 Blows (Francois Truffaut) Other Nominations: Some Like It Hot (Billy Wilder), North by Northwest (Alfred Hitchcock), Rio Bravo (Howard Hawks), Pickpocket (Robert Bresson) 1960 Winner: Breathless (Jean-Luc Godard) Other Nominations: Psycho (Alfred Hitchcock), La Dolce Vita (Federico Fellini), L'Avventura (Michelangelo Antonioni), The Apartment (Billy Wilder) 1961 Winner: Viridiana (Luis Bunuel) Other Nominations: Jules and Jim (Francois Truffaut), Last Year at Marienbad (Alain Resnais), La Notte (Michelangelo Antonioni), West Side Story (Robert Wise) 1962 Winner: Lawrence of Arabia (David Lean) Other Nominations: The Man Who Shot Liberty Valance (John Ford), L'Eclisse (Michelangelo Antonioni), Vivre Sa Vie (Jean-Luc Godard), The Exterminating Angel (Luis Bunuel) 1963 Winner: 8 1/2 (Federico Fellini) Other Nominations: Contempt (Jean-Luc Godard), The Leopard (Luchino Visconti), The Birds (Alfred Hitchcock), El Verdugo (Luis Garcia Berlanga) 1964 Winner: Dr. Strangelove (Stanley Kubrick) Other Nominations: Gertrud (Carl Theodor Dreyer), The Umbrellas of Cherbourg (Jacques Demy), The Gospel According to St. Matthew (Pier Paolo Pasolini), Black God White Devil (Glauber Rocha) 1965 Winner: The Battle of Algiers (Gillo Pontecorvo) Other Nominations: Pierrot le Fou (Jean-Luc Godard), Doctor Zhivago (David Lean), The Sound of Music (Robert Wise), Alphaville (Jean-Luc Godard) 1966 Winner: Persona (Ingmar Bergman) Other Nominations: Andrei Rublev (Andrei Tarkovsky), Au Hasard Balthazar (Robert Bresson), Blowup (Michelangelo Antonioni), The Good the Bad and the Ugly (Sergio Leone) 1967 Winner: Playtime (Jacques Tati) Other Nominations: Le Samourai (Jean-Pierre Melville), Belle de Jour (Luis Bunuel), Bonnie and Clyde (Arthur Penn), The Graduate (Mike Nichols) 1968 Winner: 2001: A Space Odyssey (Stanley Kubrick) Other Nominations: Once Upon a Time in the West (Sergio Leone), Rosemary's Baby (Roman Polanski), Faces (John Cassavetes), Night of the Living Dead (George Romero) 1969 Winner: The Wild Bunch (Sam Peckinpah) Other Nominations: The Color of Pomegranates (Sergei Parajanov), Kes (Ken Loach), My Night at Maud's (Eric Rohmer), A Touch of Zen (King Hu) 1970 Winner: The Conformist (Bernardo Bertolucci) Other Nominations: Performance (Nicolas Roeg), Husbands (John Cassavetes), Five Easy Pieces (Bob Rafelson), Wanda (Barbara Loden) 1971 Winner: A Clockwork Orange (Stanley Kubrick) Other Nominations: McCabe and Mrs. Miller (Robert Altman), Death in Venice (Luchino Visconti), Harold and Maude (Hal Ashby), The Last Picture Show (Peter Bogdanovich) 1972 Winner: The Godfather (Francis Ford Coppola) Other Nominations: Aguirre: The Wrath of God (Werner Herzog), The Discreet Charm of the Bourgeoisie (Luis Bunuel), Cries and Whispers (Ingmar Bergman), Solaris (Andrei Tarkovsky) 1973 Winner: Amarcord (Federico Fellini) Other Nominees: The Mother and the Whore (Jean Eustache), The Spirit of the Beehive (Victor Erice), Badlands (Terrence Malick), Don't Look Now (Nicolas Roeg) 1974 Winner: The Godfather Part II (Francis Ford Coppola) Other Nominations: The Mirror (Andrei Tarkovsky), Chinatown (Roman Polanski), A Woman Under the Influence (John Cassavetes), Ali: Fear Eats the Soul (Rainer Werner Fassbinder) 1975 Winner: Barry Lyndon (Stanley Kubrick) Other Nominations: Nashville (Robert Altman), Jaws (Steven Spielberg), Jeanne Dielman (Chantal Akerman), One Flew Over the Cuckoo's Nest (Milos Forman) 1976 Winner: Taxi Driver (Martin Scorsese) Other Nominations: In the Realm of the Senses (Nagisa Oshima), Kings of the Road (Wim Wenders), Network (Sidney Lumet), 1900 (Bernardo Bertolucci) 1977 Winner: Annie Hall (Woody Allen) Other Nominees: Star Wars (George Lucas), Close Encounters of the Third Kind (Steven Spielberg), Eraserhead (David Lynch), Killer of Sheep (Charles Burnett) 1978 Winner: Days of Heaven (Terrence Malick) Other Nominations: The Deer Hunter (Michael Cimino), Dawn of the Dead (George Romero), In the Year with 13 Moons (Rainer Werner Fassbinder), The Tree of Wooden Clogs (Ermanno Olmi) 1979 Winner: Apocalypse Now (Francis Ford Coppola) Other Nominations: Stalker (Andrei Tarkovsky), Manhattan (Woody Allen), Alien (Ridley Scott), Life of Brian (Terry Jones) 1980 Winner: Raging Bull (Martin Scorsese) Other Nominations: The Shining (Stanley Kubrick), The Empire Strikes Back (Irvin Kershner), Berlin Alexanderplatz (Rainer Werner Fassbinder), Kagemusha (Akira Kurosawa) 1981 Winner: Raiders of the Lost Ark (Steven Spielberg) Other Nominations: Mad Max 2 (George Miller), Possession (Andrzej Zulawski), The Woman Next Door (Francois Truffaut), Red (Warren Beatty) 1982 Winner: Blade Runner (Ridley Scott) Other Nominations: Fanny and Alexander (Ingmar Bergman), E.T. The Extra Terrestrial (Steven Spielberg), The Thing (John Carpenter), Fitzcarraldo (Werner Herzog) 1983 Winner: Sans Soleil (Chris Marker) Other Nominations: L'Argent (Robert Bresson), Videodrome (David Cronenberg), The King of Comedy (Martin Scorsese), Nostalghia (Andrei Tarkovsky) 1984 Winner: Once Upon a Time in America (Sergio Leone) Other Nominations: Paris Texas (Wim Wenders), Love Streams (John Cassavetes), This Is Spinal Tap (Rob Reiner), Stranger Than Paradise (Jim Jarmusch) 1985 Winner: Shoah (Claude Lanzmann) Other Nominations: Come and See (Elem Klimov), Brazil (Terry Gilliam), Ran (Akira Kurosawa), Back to the Future (Robert Zemeckis) 1986 Winner: Blue Velvet (David Lynch) Other Nominations: The Sacrifice (Andrei Tarkovsky), The Green Ray (Eric Rohmer), Aliens (James Cameron), Down by Law (Jim Jarmusch) 1987 Winner: Wings of Desire (Wim Wenders) Other Nominations: Where is the Friend's Home (Abbas Kiarostami), Withnail and I (Bruce Robinson), The Dead (John Huston), Yeelen (Souleymane Cisse) 1988 Winner: Dekalog (Kryzsztof Kieslowski) Other Nominations: The Thin Blue Line (Errol Morris), My Neighbor Totoro (Hayao Miyazaki), Cinema Paradiso (Giuseppe Tornatore), Distant Voices Still Lives (Terence Davies) 1989 Winner: Do the Right Thing (Spike Lee) Other Nominations: A City of Sadness (Hou Hsiao-Hsien), Crimes and Misdemeanors (Woody Allen), The Killer (John Woo), Time of the Gypsies (Emir Kusturica) 1990 Winner: Goodfellas (Martin Scorsese) Other Nominations: Close-Up (Abbas Kiarostami), Days of Being Wild (Wong Kar-Wai), Nouvelle Vague (Jean-Luc Godard), Miller's Crossing (Coen brothers) 1991 Winner: A Brighter Summer Day (Edward Yang) Other Nominations: The Double Life of Veronique (Krzysztof Kieslowski), Raise the Red Lantern (Zhang Yimou), The Silence of the Lambs (Jonathan Demme), Barton Fink (Coen brothers) 1992 Winner: Unforgiven (Clint Eastwood) Other Nominations: Reservoir Dogs (Quentin Tarantino), Quince Tree of the Sun (Victor Erice), Orlando (Sally Potter), Twin Peaks: Fire Walk with Me (David Lynch) 1993 Winner: Three Colors: Blue (Kyzysztof Kieslowski) Other Nominations: The Piano (Jane Campion), Schindler's List (Steven Spielberg), Groundhog Day (Harold Ramis), The Puppetmaster (Hou Hsiao-Hsien) 1994 Winner: Pulp Fiction (Quentin Tarantino) Other Nominations: Satantango (Bela Tarr), Chungking Express (Wong Kar-Wai), Three Colors: Red (Krzysztof Kieslowski), Through the Olive Trees (Abbas Kiarostami) 1995 Winner: Underground (Emir Kusturica) Other Nominees: Heat (Michael Mann), Toy Story (John Lasseter), Trainspotting (Danny Boyle), Casino (Martin Scorsese) 1996 Winner: Fargo (Coen brothers) Other Nominations: Breaking the Waves (Lars Von Trier), Lost Highway (David Lynch), A Moment of Innocence (Mohsen Makhmalbaf), Secrets and Lies (Mike Leigh) 1997 Winner: Happy Together (Wong Kar-Wai) Other Nominations: A Taste of Cherry (Abbas Kiarostami), Boogie Nights (Paul Thomas Anderson), Funny Games (Michael Haneke), Mother and Son (Aleksandr Sokurov) 1998 Winner: Histoire du Cinema (Jean-Luc Godard) Other Nominations: The Big Lebowski (Coen brothers), The Thin Red Line (Terrence Malick), Festen (Thomas Vinterberg), Flowers of Shanghai (Hou Hsiao-Hsien) 1999 Winner: Beau Travail (Claire Denis) Other Nominations: Magnolia (Paul Thomas Anderson), The Matrix (Wachowskis), All About My Mother (Pedro Almodovar), Eyes Wide Shut (Stanley Kubrick) 2000 Winner: In the Mood for Love (Wong Kar-Wai) Other Nominations: Yi Yi (Edward Yang), Werckmeister Harmonies (Bela Tarr), The Gleaners and I (Agnes Varda), Crouching Tiger Hidden Dragon (Ang Lee) 2001 Winner: Mulholland Drive (David Lynch) Other Nominations: Spirited Away (Hayao Miyazaki), Amelie (Jean-Pierre Jeunet), A.I. Artificial Intelligence (Steven Spielberg), The Fellowship of the Ring (Peter Jackson) 2002 Winner: Russian Ark (Aleksandr Sokurov) Other Nominations: City of God (Fernando Meirelles), Blissfully Yours (Apichatpong Weerasethakul), Talk to Her (Pedro Almodovar), Punch-Drunk-Love (Paul Thomas Anderson) 2003 Winner: Tie Xi Qu: West of the Tracks (Bing Wang) Other Nominations: Elephant (Gus Van Sant), Dogville (Lars Von Trier), Oldboy (Chan-Wook Park), Lost in Translation (Sofia Coppola) 2004 Winner: Eternal Sunshine of the Spotless Mind (Michel Gondry) Other Nominations: Tropical Malady (Apichatpong Weerasethakul), Before Sunset (Richard Linklater), 2046 (Wong Kar-Wai), Moolaade (Ousmane Sembene) 2005 Winner: Cache (Michael Haneke) Other Nominations: The Death of Mr. Lazarescu (Cristi Puiu), Brokeback Mountain (Ang Lee), Grizzly Man (Werner Herzog), The New World (Terrence Malick) 2006 Winner: The Lives of Others (Florian Henckel von Donnersmarck) Other Nominations: Colossal Youth (Pedro Costa), Inland Empire (David Lynch), Pan's Labyrinth (Guillermo del Toro), Syndromes and a Century (Apichatpong Weerasethakul) 2007 Winner: There Will Be Blood (Paul Thomas Anderson) Other Nominations: No Country for Old Men (Coen brothers), Silent Light (Carlos Reygadas), Zodiac (David Fincher), 4 Months 3 Weeks and 2 Days (Cristian Mungiu) 2008 Winner: WALL-E (Andrew Stanton) Other Nominations: The Dark Knight (Christopher Nolan), Synecdoche New York (Charlie Kaufman), Hunger (Steve McQueen), The Hurt Locker (Kathryn Bigelow) 2009 Winner: The White Ribbon (Michael Haneke) Other Nominations: Avatar (James Cameron), White Material (Claire Denis), A Prophet (Jacques Audiard), Inglorious Basterds (Quentin Tarantino) 2010 Winner: Uncle Boonmee Who Can Recall His Past Lives (Apichatpong Weerasethakul) Other Nominations: Nostalgia for the Light (Patricio Guzman), The Social Network (David Fincher), The Arbor (Clio Barnard), Mysteries of Lisbon (Raul Ruiz) 2011 Winner: The Tree of Life (Terrence Malick) Other Nominations: The Turin Horse (Bela Tarr), Melancholia (Lars Von Trier), A Separation (Asghar Farhadi), Once Upon a Time in Anatolia (Nuri Bilge Ceylan) Note: 2012-2016 films were not included because the biggest film poll, Sight and Sound, was last updated in 2012, so everything beyond that is kind of a mystery in where it stands among film canon. If a film isn't apart of film canon yet, it has no chance of making the list. Expect film canon to slowly catch up in the years leading up to the next Sight and Sound poll in 2022, where everything will thankfully be refreshed
Read movie and film review for Casino (1995) - Martin Scorsese on AllMovie - The explosive beginning of Saul Bass's… Martin Scorsese dirige cette adaptation du livre de Nicholas Pileggi. Mots clés:Casino 1995 Streaming VF Gratuit Casino Film 1995 Streaming Casino Film Complet Casino Film entier VF Casino Stream Complet Casino Streaming en Français Voir film Casino. Commentaires . Laisser un commentaire Annuler la réponse. Martin Scorsese meanwhile takes us to school over the intricacies of the casino business. He devotes a significant proportion of the movie in doing so - but in his own unique style replete with voice over narration, stunning tracking shots and epic Rolling Stones music. Casino (1995) by Martin Scorsese. Topics Casino (1995) Casino (1995) Addeddate 2018-12-03 03:15:37 Identifier Casino1995_201812 Scanner Internet Archive HTML5 Uploader 1.6.3. plus-circle Add Review. comment. Reviews Reviewer: LizaNicole - favorite favorite favorite favorite favorite - September 29, 2019 Subject: My Favorite Movie! Casino Stream and Watch Online ... Tracking down a streaming service to buy, rent, download, or view the Martin Scorsese-directed movie via subscription can be confusing, ... Casino online anschauen. Auch in HD verfügbar - kostenlos angucken. Sam “Ace” Rothstein sorgt dafür, dass in den Casinos von Las Vegas alles gut läuft. Das heißt: die ... Durée : 2h 58min, Film : Français, Réalisé en 1995, par : Martin Scorsese Avec : Joe Pesci, Robert De Niro, Sharon Stone Synopsis : Dans les années soixante à Las Vegas, Ace Rothstein dirige la main Tanger hôtel-casino de fer caché par les puissants Teamsters financé. Martin Scorsese’s ‘Casino’ on Peacock !Featured , Academy Award nominee , Action , based on a true story , Blu-ray , DVD , gangsters , Peacock , Streaming Movies , SVOD 01/10/2021 01/09/2021 Sean Axmaker Casino ist ein Drama aus dem Jahr 1995 von Martin Scorsese mit Robert De Niro, Sharon Stone und Joe Pesci. Martin Scorseses Mafiadrama Casino zeigt die Mafia im schillernden Las Vegas der frühen Siebziger, welches hinter dem Vorhang der guten Laune von Geld, Drogen und Gewalt dominiert wurde. Casino. Director: Martin Scorsese Imdb: 8.4. A tale of greed, deception, money, power, and murder occur between two best friends: a mafia enforcer and a casino executive, compete against each other over a gambling empire, and over a fast living and fast loving socialite. 1995. 2 h 58 min.
An interview with Martin Scorsese on CASINO (1995) - YouTube
Martin ScorseseThe Rolling StonesMartin Scorsese réalise son rêve de toujours : filmer les Rolling Stones, le groupe qui incarne le rock'n'roll à lui tout se... Montage du film Casino de Martin Scorsese avec les musiques de MOBY dont "One of these mornings" et "Signs of love" Rare 9-Minute 1995 'Casino' interview w/ Martin Scorsese Director Martin Scorsese talks about his latest film, "Casino," and the unique acting talent of Robert De Niro. CASINO STREAM 🔥🔥🔥 SLOTS/BIG WIN AND ... slot machine bonus, slot channel, casino (1995), robert de niro, martin scorsese, leovegas live casino, slot machine win, incredible, high limit ... Robert De Niro, Sharon Stone and Joe Pesci star in director Martin Scorsese's riveting look at how blind ambition, white-hot passion and 24-karat greed toppl... Italianamerican by Martin Scorsese -1974 [FR]Synopsis :Dans ce documentaire, Martin Scorsese rend hommage à ses parents et de façon plus générale au quartier... Another video edit tribute to Martin Scorsese on his movie called Casino flowing on @kbzali beat and edited by @blackowalski Tell me if you like it below on ... Video Clip ot the introduction to the movie "Casino" by Martin Scorsese - English audio
