I wouldn't call the gangstemob genre one of my favorites, but it certainly is one of the most respected and has a place in film history, thanks in particular to the three leads here and Scorsese.
I've always respected Scorsese's work even if he isn't one of my favorites. His films have hit the whole spectrum for me from 2/3's all the way to a masterful 10, but for the most part he has been as consistent as any director in the history of film.
With "The Irishman" we can tell how much Scorsese loves the mob genre and this film is like an ode, and a brilliant reflection of this director's past and views on violence and the vast array of characters he has brought to the screen. Has old age changed Scorsese? It seems like many of their craft, he has gained wisdom and particular nuance to what we have seen time and time again on the big screen. We've seen the quiet but dutiful hitman take out person after person with no remorse (although in this there is something even more cold about it), and we've seen biopics that show the smorgasbord of events that changed history forever. Here it is executed flawlessly. Particularly the former, when we get massive payoff toward the final act, and see the main character reach for forgiveness in what he's done (another Scorsese trademark). And we never quite see these traits executed the way Scorsese has done it time after time.
Potentially the best part of any of his films is his fascination with forgiveness, redemption, salvation and religious purpose with his main characters and it is another highlight in "The Irishman". At what cost did Sheehan's actions pay off? What did his daughters think? Where did he and his friends end up? What was he made to do against his own personal desires?
Now the acting. There is the trifecta here everyone is talking about. The three old men turn in very, very good performances, in particular Joe Pesci who has a subtle sophistication and menace to his character that harkens back to his roles in "Goodfellas" and "Casino". Al Pacino is manic, flawed and energetic as Hoffa, while DeNiro isn't quite incredible but very good in the lead role the title of the film suggests. I'm happy that Pesci came back for this as I think he was as well, and even happier when he finds out the success from fans and critics alike. The Oscars aren't the end all be all as I used to consider them but in the very least Pesci should get a nomination here. I wouldn't be surprised for all three. Certainly the end of an era as we will never see these three act together again in a mammoth production like this.
Downsides of this film would be the 3.5 hour runtime (although length didn’t bother me). I would imagine that it turns most people off to invest that much time, but they most likely will with the names attached to this production. My other critique would be the pacing of the final act as I felt it was rushed (believe it or not). I wanted to see more of Frank's struggle with redemption as that became the most powerful part of the film (Catholic guilt and forgiveness, etc.).
Wonderful film for those who especially like the mob/crime genre and are fans of the three leads and Scorsese. I would be confident in calling this the swan song for all of them, but most likely just Pesci, as I think Pacino, DeNiro and Scorsese will continue to turn out a few more films before the pass on.
8/10

1. James Gandolfini - I believe his performance in sopranos is one of the greatest acting performances of all time, the way he navigates his emotion is genius. Its such a tragedy he isn't alive anymore, I would've loved to meet him. He had good roles in True Romance and 8mm, both films I really liked
2. Al Pacino - He has such a good performance in some of my favourite films, Scarface, the godfather movies, Donnie Brasco and Heat. In all those films he stands out so well, he has such a distinctive style, absolute legend. He also had a good small part in once upon a time in Hollywood
3. Robert De Niro - He was also in one of the Godfather films (second one), and he was in heat, he had a great performance in both. He is great in other films like Taxi Driver, Irishman, Goodfellas, Casino, Jackie Brown. Overall just a great actor
4. Brad Pitt - His versatility is amazing. He has great performances in Once upon a time on Hollywood, Inglorious Basterds, Oceans Thirteen, True Romance (plays a perfect stoner lol) and one of his most underrated performances was snatch. Its set in England and he plays a traveller, and it is speechless how perfectly he does it.
5. Leonardo DiCaprio - Again, a very versatile actor. He plays amazing in Django Unchained, Wolf of wall street, shutters island, once upon a time in hollywood, the departed. I love all them films and he is really good in all of them

I don't have much more information. I'm thinking Robert De Niro or Al Pacino was in it, but I've looked through their movies and I can't seem to find anything that would fit this. It's not Casino, but it's a movie that I think may be similar to it. It takes place in the 80s I presume, I remember another scene where a guy whips out some coke and does a line in front of someone else in the office of a disco studio or something like that.
I also remember near the end of the movie, two guys are sitting next to each other in chairs in their mansion and talking about how it's over, their scheme or something is up.
I know this is very vague, and I appreciate any insight. I saw clips of it on TV awhile back, and I've wanted to watch it since, but I don't know what the title is.

Hello. I just finished Basic Instinct and I'm looking for more thrillers like BI and Shutter Island. Mostly, I like and enjoy a lot old movies (classic and acclaimed ones) I take any recommendation but I don't like futuristic or unrealistic plots.
Also I take recommendation for acclaimed and famous movies, I like being "cult" (in that way) because I didn't watch too much movies, just: Scarface, Godfather series, Goodfellas, Donnie Brasco, Scent of a Woman, Pulp Fiction, Heat, Reservoir Dogs, Carlito's Way and Dog Day Afternoon (yes, I like Al Pacino a lot). Probably I'm missing someones but feel free to comment, I'll appreciate it.
Next one on my list is going to be Casino.

Ranking my favorite memorable Italian-American Mafioso from film and television. Dons to Bosses, Made Men and even a few rats. Regardless of how powerful they were, or how their story turned out, all of the below men were brilliant on screen. Post your rankings, let me know if I missed any.
If this gets enough of a response, I'll release my Greatest Irish Mobsters ever list, followed by more.
​

Mafioso	Actor(s)	Movie(s)/TV Show
1. Don Vito Corleone	Marlon Brando/Robert De Niro	The Godfather Part I & II
2. Don Micheal Corleone	Al Pacino	The Godfather Part I, II, & III
3. Tony Soprano	James Gandolfini	The Sopranos
4. Tommy Devito	Joe Pesci	Goodfellas
5. Sonny Corleone	James Caan	The Godfather Part I (cameo II)
6. Charlie Luciano	Vincent Piazza	Boardwalk Empire
7. Silvio Dante	Steven Van Zandt	The Sopranos
8. Christopher Moltisanti	Micheal Imperioli	The Sopranos
9. Paul Cicero	Paul Sorvino	Goodfellas
10. Nicky Santoro	Joe Pesci	Casino
11. Paulie Guattiere	Tony Sirrico	The Sopranos
12. John "Johnny Sack" Sacrimony	Vincent Curatola	The Sopranos
13. Al Capone	Stephen Graham	Boardwalk Empire
14. Peter Clemenza	Richard Castellano/Bruno Kirby	The Godfather Part I & II
15. Frank Pentangeli	Micheal Gazzo	The Godfather Part II
16. Russell Buffalino	Joe Pesci	The Irishman
17. Guiseppe "Joe the Boss" Masseria	Ivo Nandi	Boardwalk Empire
17. Al Capone	Robert De Niro	The Untouchables
18. Tony Camonte	Paul Muni	Scarface (1937)
19. Richie Aprile	David Provole	The Sopranos
20. Ralphie Ciffaretto	Joe Pantoliano	The Sopranos
21. Vincent Mancini	Andy Garcia	The Godfather Part III
22. Phil Leotardo	Frank Vincent	The Sopranos
23. Johnny Boy	Robert De Niro	Mean Streets
24. Fat Tony D'Amico	Joe Mantegna	The Simpsons
25. Carmine Lupertazzi	Tony Lip	The Sopranos
26. Al Neri	Richard Bright	The Godfather Part I, II, & III
27. Joey Zasa	Joe Mantegna	The Godfather Part III
28. Benjamin "Lefty" Ruggierro	Al Pacino	Donnie Brasco
29. Sonny LoSpecchio	Chazz Palminteri	A Bronx Tale
30. Fat Tony Salerno	Domenik Lombardozzi	The Irishman
31. Don Fanucci	Gastone Moschin	The Godfather Part II
32. Virgil Solozzo	Al Lettieri	The Godfather Part I
33. Corrado "Junior" Soprano	Dominic Chianese	The Sopranos
34. Bobby Bacala	Steve Schirripa	The Sopranos
35. Paul Vitti	Robert De Niro	Analyze This & Analyze That

​
Honorable Mention:

• Patsy Parisi - Dan Grimaldi - The Sopranos
• Benny Fazio - Max Casella - The Sopranos
• Sal "Big Pussy" Bompenciero - Vincent Pastore - The Sopranos
• Don Altobello - Eli Wallach - The Godfather Part III
• Luca Brasi - Lenny Montana - The Godfather Part I
• Gyp Rosetti - Bobby Canavale - Boardwalk Empire
• Billy Batts - Frank Vincent - Goodfellas

​
Again: These are my rankings, if you feel someone is too high or too low, post your rankings! If you think I missed someone, make a case, I'll re-watch that. Don't forget this list is Italian-American LCN associated mobsters only.

Rotten Tomatoes: 100% (8.97 in average rating) with 41 reviews

Critics consensus: An epic gangster drama that earns its extended runtime, The Irishman finds Martin Scorsese revisiting familiar themes to poignant, funny, and profound effect.

Metacritic: 92/100 (23 critics) "must-see"
As with other movies, the scores are set to change as time passes. Meanwhile, I'll post some short reviews on the movie.

De Niro’s always at his best in the context of a Scorsese-mandated tough-guy routine, and Frank Sheeran gives the actor his most satisfying lead role in years. Sheeran appears in virtually every scene, and the story belongs to his colorful worldview the entire time. He may be an aging man telling tall tales, but that puts him in the same category as the one behind the camera. Sheeran, however, lost touch with his world long before he left it. With “The Irishman,” Scorsese proves he’s more alive than ever.

-Eric Kohn, IndieWire: A

Despite the movie's many pleasures and Scorsese's redoubtable directorial finesse, the excessive length ultimately is a weakness. Attempts to build in social context during the Kennedy and Nixon years, at times intercutting news footage from the period, aren't substantial enough to add much in terms of texture. The connections drawn between politics and organized crime feel undernourished, and the movie works best when it remains tightly focused on the three central figures of Frank, Russell and Jimmy. Netflix should be commended for providing one of our most celebrated filmmakers the opportunity to revisit narrative turf adjacent to some of his best movies. But the feeling remains that the material would have been better served by losing an hour or more to run at standard feature length, or bulking up on supporting-character and plot detail to flesh out a series.

-David Rooney, The Hollywood Reporter

Martin Scorsese’s “The Irishman” is a coldly enthralling, long-form knockout — a majestic Mob epic with ice in its veins. It’s the film that, I think, a lot us wanted to see from Scorsese: a stately, ominous, suck-in-your-breath summing up, not just a drama but a reckoning, a vision of the criminal underworld that’s rippling with echoes of the director’s previous Mob films, but that also takes us someplace bold and new.

-Owen Gleiberman, Variety

And the big ticket world premiere at this festival is its opening-night film, The Irishman, a nearly three-and-a-half-hour gangster epic from New York’s own hero, Martin Scorsese. The Irishman is less literal about its meta moodiness than Pain & Glory is, but it still speaks disarmingly quiet volumes about what the autumn of life might mean for its creator.

-Richard Lawson, Vanity Fair

For much of its duration, The Irishman covers familiar ground but is slickly entertaining, if a little repetitive in the third hour. There’s an almost meta-maturity, as if Scorsese is also looking back on his own career, the film leaving us with a haunting reminder not to glamorise violent men and the wreckage they leave behind.

-Peter Bradshaw, The Guardian: 4/5

Ultimately, “The Irishman” is a major success for Scorsese—not only does it incorporate the best aspects of his past crime dramas and their thrilling energy, but it adds context to those films and wrestles with their legacy resonantly. In a way, “The Irishman” fills in the gaps between “Goodfellas” and “Casino” to tell the overall story of the mob’s rise and fall in postwar America, but it does so while anchored to one man’s story and morality. The law never catches up to Sheeran—not for the real damning stuff anyway— but as Scorsese demonstrates with profound solemnity, he cannot outrun his conscience.

-Joe Blessing, The Playlist: A

Nothing this misshapen ever flies—Scorsese once managed to make a movie called The Aviator that was similarly overburdened—yet his all-over-the-place enthusiasm plays nicely against the material’s death stench. Tidy as it may be to expect, Scorsese doesn’t need to cap his career with a sign-off to the gangster epic; that would be way too sentimental for him. What The Irishman does become, in its final hour, is something better, a film about broken trust, to family and God. De Niro’s Sheeran, like the monks of Scorsese’s magnificent Silence, wrecked by spiritual compromise, can't express his pain. This may not be why the average fan comes to a Marty movie, but it’s the statement this director, now 76, feels like making. After so much brilliance, Scorsese is being too hard on himself (maybe this review is too), but when The Irishman is about doubt, it’s as personal as it gets.

-Joshua Rothkopf, Time Out: 4/5

People will want to see The Irishman because of De Niro, Pesci, and Pacino all in a mob movie again, directed by Martin Scorsese. And, boy, yes, that’s there. In the scenes where they are younger, the de-aging is … pretty good. I’d say the best I’ve seen so far. But it’s one of those things that if you stare at it, yes, you can see the imperfections – especially when De Niro or Pesci are acting alongside, say, a non-de-aged Ray Romano. But you do get used to it. And the way I look at this is, well, this is the small price to pay to get all these actors together again to tell this story. To star in Martin Scorsese’s phenomenal film about the price we all pay for our sins of youth … even if you or I didn’t kill Jimmy Hoffa. The Irishman is terrific and Netflix got their money’s worth.

-Mike Ryan, Uproxx

As much as they take special care to tell the audience that their characters are rotten to the core, Goodfellas and Casino and another spiritual relative, The Wolf Of Wall Street, have been misunderstood as glorifications; it’s an inevitable consequence, perhaps, of following ugly men with occasionally glamorous lives. Scorsese takes no such chances with The Irishman, a crime epic that pushes further forward in time than most, to a truly ignoble end. Eventually, it reminds us, we’re all just fitting ourselves for coffins.

-A. A. Dowd, Uproxx: A-

The film – at three hours and 19 minutes – never flags. The Irishman may not be as groundbreaking as Mean Streets or Taxi Driver, but then again, what is?

-Caryn James, BBC: 4/5

Scorsese is so adept at storytelling, and his cast is so unbelievable, that the film, which clocks in at 209 minutes — even longer than The Return of the King and Avengers: Endgame — barely feels its length. The Irishman feels more like being caught in a dream or reminiscence, with all the tenderness we’re willing to afford in those in-between hours. Only Scorsese and his assembled cast, not to mention longtime editor Thelma Schoonmaker, could bring that all into reality.

-Karen Han, Polygon

Some may balk at the 209-minute runtime, but there’s never a moment where this story drags. Indeed, the three-plus hours practically fly by, because we’re so swept up in this decades-long journey. There’s not a single second wasted here, because one gets the sense that all the characters are hanging on for dear life – literally. As the years tick on, and their bodies fail them, The Irishman‘s main players find themselves closer and closer to oblivion.

-Chris Evangelista, /FILM: 10/10

Five decades is a lot of history to hold together, and it could have easily crumbled. Remember “Gotti”? But Scorsese is at the top of his game here. His film is never boring, and it explores some unexpectedly deep themes for mafiosos.

-Johnny Oleksinski, New York Post: 4/4

With The Irishman, director Martin Scorsese proves to be in an alluringly funereal mood.

-Keith Uhlich, Slant: 3.5/4

There is no arguing that The Irishman is a masterpiece. It is Scorsese revisiting themes seen in his past work with new elements of excitement, despair, and wit. The great performances and incredible filmmaking make this fictionalized tale of Frank Sheeran a story to end the decade, one that has seen many changes within the film industry — and hopefully introducing a new era of Martin Scorsese.

-Shea Vassar, Filmera: 5/5

For the first two and a half hours of its three-and-a-half-hour runtime, The Irishman is clever and entertaining, to the point where you may think that’s all it’s going to be. But its last half-hour is deeply moving in a way that creeps up on you, and it’s then that you see what Scorsese was working toward all along.

-Stephanie Zacharek, TIME

A monument is a complicated thing. This one is big and solid — and also surprisingly, surpassingly delicate.

-A. O. Scott, The New York Times

Scorsese is probably the last big-budget filmmaker who mostly declines to tell the audience what to think, much less boldface and underline why he’s telling us a story about self-serving criminals and whether he personally condemns them. “The Irishman” doesn’t break with that tradition. The opportunity to sit with the movie later is the main reason to see it. For all its borderline-vaudevillian verbal humor and occasional eruptions of ultraviolence (often done in a single take, and shot from far away) it feels like as much of a collection of thought prompts and images of contemplation as Scorsese’s somber religious epics “The Last Temptation of Christ,” “Kundun” and “Silence.” God is as tight-lipped as Frank.

-Matt Zoller Seitz, RogerEbert.com: 3.5/4
DIRECTOR
Martin Scorsese
WRITER
Steven Zaillian
CINEMATOGRAPHY
Rodrigo Prieto
EDITOR
Thelma Schoonmaker
Release date:
November 1, 2019 (limited theatrical release)
November 27, 2019 (Netflix)
Budget:
$159,000,000
STARRING

• Robert De Niro as Frank "The Irishman" Sheeran
  
• Al Pacino as Jimmy Hoffa
  
• Joe Pesci as Russell Bufalino
  
• Harvey Keitel as Angelo Bruno
  
• Bobby Cannavale as Felix "Skinny Razor" DiTullio
  
• Anna Paquin as Peggy Sheeran
  
• Stephen Graham as Anthony "Tony Pro" Provenzano
  
• Ray Romano as Bill Bufalino
  

Maybe this is a hot take, or maybe this is as vanilla as missionary. I don't know. But I want to preface this by saying that I love "Goodfellas," and I enjoy watching clips of "Casino" all the time on YouTube. Al Pacino is probably my second favorite actor (Denzel wins top honors from me), and I respect DeNiro. Also, Pesci coming back is really cool.
That said, "The Irishman" was definitely not a masterpiece. Don't get me wrong, it was a great movie. And for someone who loves gangstemafioso movies it was a wet dream. But looking back on it from a technical standpoint it left me wanting more.
The soundtrack felt very limited. Remember that track that played when Bugs choked out the guy in the car (Da da da da, da da da da, daaaaaaaa)? I'm a huge proponent of recycling but this felt criminally overused.
Also, keeping track of exactly where we are sequentially was a mess at times. This is largely due to the limitations of the de-aging software used, but it is still something worth noting.
Funnily enough, the DeNiro beatdown travesty went unnoticed by me on first watch. I don't think that it was that big of a deal.
Sometimes the scenes felt disjointed. I can't give any specifics now, but instead of feeling like each scene seamlessly transitioned into the next, the flow felt, at times, comparable to a Flip-o-Rama.
Ultimately, it was definitely a solid movie, and it was certainly enjoyable for what it was. Despite my remarks, it was one of my all time favorites. That said, it was certainly no masterpiece.

Ranking my favorite memorable Italian-American Mafioso from film and television. Dons to Bosses, Made Men and even a few rats. Regardless of how powerful they were, or how their story turned out, all of the below men were brilliant on screen. Post your rankings, let me know if I missed any.
If this gets enough of a response, I'll release my Greatest Irish Mobsters ever list, followed by more.
​

Mafioso	Actor(s)	Movie(s)/TV Show
1. Don Vito Corleone	Marlon Brando/Robert De Niro	The Godfather Part I & II
2. Don Micheal Corleone	Al Pacino	The Godfather Part I, II, & III
3. Tony Soprano	James Gandolfini	The Sopranos
4. Tommy Devito	Joe Pesci	Goodfellas
5. Sonny Corleone	James Caan	The Godfather Part I (cameo II)
6. Charlie Luciano	Vincent Piazza	Boardwalk Empire
7. Silvio Dante	Steven Van Zandt	The Sopranos
8. Christopher Moltisanti	Micheal Imperioli	The Sopranos
9. Paul Cicero	Paul Sorvino	Goodfellas
10. Nicky Santoro	Joe Pesci	Casino
11. Paulie Guattiere	Tony Sirrico	The Sopranos
12. John "Johnny Sack" Sacrimony	Vincent Curatola	The Sopranos
13. Al Capone	Stephen Graham	Boardwalk Empire
14. Peter Clemenza	Richard Castellano/Bruno Kirby	The Godfather Part I & II
15. Frank Pentangeli	Micheal Gazzo	The Godfather Part II
16. Russell Buffalino	Joe Pesci	The Irishman
17. Guiseppe "Joe the Boss" Masseria	Ivo Nandi	Boardwalk Empire
17. Al Capone	Robert De Niro	The Untouchables
18. Tony Camonte	Paul Muni	Scarface (1937)
19. Richie Aprile	David Provole	The Sopranos
20. Ralphie Ciffaretto	Joe Pantoliano	The Sopranos
21. Vincent Mancini	Andy Garcia	The Godfather Part III
22. Phil Leotardo	Frank Vincent	The Sopranos
23. Johnny Boy	Robert De Niro	Mean Streets
24. Fat Tony D'Amico	Joe Mantegna	The Simpsons
25. Carmine Lupertazzi	Tony Lip	The Sopranos
26. Al Neri	Richard Bright	The Godfather Part I, II, & III
27. Joey Zasa	Joe Mantegna	The Godfather Part III
28. Benjamin "Lefty" Ruggierro	Al Pacino	Donnie Brasco
29. Sonny LoSpecchio	Chazz Palminteri	A Bronx Tale
30. Fat Tony Salerno	Domenik Lombardozzi	The Irishman
31. Don Fanucci	Gastone Moschin	The Godfather Part II
32. Virgil Solozzo	Al Lettieri	The Godfather Part I
33. Corrado "Junior" Soprano	Dominic Chianese	The Sopranos
34. Bobby Bacala	Steve Schirripa	The Sopranos
35. Paul Vitti	Robert De Niro	Analyze This & Analyze That

​
Honorable Mention:

• Patsy Parisi - Dan Grimaldi - The Sopranos
• Benny Fazio - Max Casella - The Sopranos
• Sal "Big Pussy" Bompenciero - Vincent Pastore - The Sopranos
• Don Altobello - Eli Wallach - The Godfather Part III
• Luca Brasi - Lenny Montana - The Godfather Part I
• Gyp Rosetti - Bobby Canavale - Boardwalk Empire

​
Again: These are my rankings, if you feel someone is too high or too low, post your rankings! If you think I missed someone, make a case, I'll re-watch that. Don't forget this list is Italian-American LCN associated mobsters only.

You can check out a video version of this here: https://www.youtube.com/watch?v=_OQkxioCNrw&t=3s
1 The first scene shot in the film was Morrie’s wig commercial, directed by Stephen R Pacca, who owned a window replacement company and directed and ran a similar ad in New York City that Scorsese was inspired by
2 When Jimmy is handing out money to everyone, Robert De Niro, ever the perfectionist, didn’t like how the fake money felt in is hands. He wanted real cash to be used, so the props master gave De Niro $5000 of his own money. No one was permitted to leave the set at the end of each take until the money was returned to the props man and counted.
3 Sticking with De Niro being a sticker for authenticity, according to the real-life Henry Hill, the protagonist of the movie, De Niro would phone him 7 or 8 times a day, wanting to discuss minute details of his character, even ow he would hold his cigarettes.
4 The classic Funny how scene is based on an occurrence which actually happened to Joe Pesci. When he was working in a restaurant years ago, he complimented a gangster by telling him he was funny, but the remark was met with a less than impressed response. Pesci told this to Scorsese, who implemented it into the film, and the scene was directed by Pesci himself and not included in the shooting script of the film, meaning his and Ray Liotta’s interactions would elicit genuine reactions from the supporting cast.
5 Henry Hill said that Joe Pesci’s portrayal of Tommy was 90 to 99% accurate. The only exception was that the real Tommy was a much larger and powerfully built man.
6 Veteran actor Al Pacino, who director Martin Scorsese wanted to work with for years and who he would later work with in The Irishman, was offered the role of Jimmy Conway. Pacino turned it down, for fear of being typecast as a gangster actor. He would go on to regret this decision.
7 Much has been made about real life mob involvement in the making of Goodfellas, from Robert De Niro attempting to contact the real-life Jimmy Burk, to Scorsese hiring background actors with real life mafia connections, such as Tony Sirico, who would later find fame playing Paulie Walnuts in The Sopranos. According to Nicholas Pileggi, author of the book Wiseuy upon which Goodfellas is based, there were several mobsters hired as extras in order to add authenticity to the film. They provided the studio with fake social security numbers, and as such it is unknown how they were paid.
8 Ray Liotta’s mother died whilst the movie was being filmed, and Liotta used his emotions over his mother’s death in his performance, most notably in the scene where he pistol whips another man.
9 When Joe Pesci’s mother saw the film, his real life mother, she liked it, but questioned her son if he had to swear so much. 5 years later in Casino Catherine Scorsese, who played Pesci’s mother in Goodfellas, complains to her son in Casino about swearing too much.
10 The painting of the two dogs and the man in the boat that Pesci’s mother in the film paints was actually painted by Nicholas Pileggi
11 The Lufthansa heist, which plays a major part of the movie, did not have its case solved and closed until 2014, and most of the surviving participants were arrested.
12 When Henry Kill is introducing mobsters to us in the bar, one of them is a character named Fat Andy. This character is played by Louis Eppolito, Eppolito was at the time a former NYPD detective whose father, uncle and cousin were in the mob. 15 years after the release of Goodfellas, Eppolito, along with his police partner, were arrested and charged with racketeering, obstruction of justice, extorsion, and up to 8 murders. They were both given life sentences, with an added 80 years each.
13 The F word and its derivatives are used 321 times in the film, at an average of 2.04 per minute, and almost half of them are said by Joe Pesci. At the time it was made, Goodfellas held the record for the most amount of profanity in a single film.
14 The scene where the three main characters eat with Tommy’s mother was almost completely improvised by the cast, including Tommy asking his mother if he could borrow a butcher’s knife and Jimmy’s remark about the animal’s hoof. Scorsese did not tell his mother tat Pesci’s character had just violently beaten a man, only that he was home for dinner and that she was to cook for them.
15 The real life Jimmy, along with Paulie whose death is mentioned in the film, also died in prison in 1996. He would have been eligible for parole in 2004.
16 Paul Sorvino wanted to drop out of the role as Paulie just three days before filming was schedule to start, as he felt he lack the cold personality to play the role correctly. After phoning his agent and asking him to release in from the film, his agent told him to think it over for a while. Later that night, Sorvino was practicing in the mirror and made a face that even frightened himself, and he was convinced that he would be able to play the role.
17 According to film legend, the real life Jimmy Burke was so trilled that Robert De Niro was playing him in the movie, that he phoned up De Niro from prison and gave him advice. This is something denied by Nicolas Pileggi
18 Even though Joe Pesci was in his fourties during the filming of Goodfellas, the real life inspiration for his character was in his 20 when the events of the film took place. Scorsese was initially concerned with Pesci being too old to play the role of Tommy, and Pesci sent him a video of him walking
19 Nicolas Pileggi spoke to Henry Hill throughout the script writing process, and he says much of the voice over narration in the film are almost exact quotes from Liotta himself
20 According to Debi Mazar, Henry Hill’s girlfriend in the film, when she trips after meeting Henry she actually tripped over the camera’s dolly track. Scorsese kept it in the film because it looked like her character was overwhelmed by Henry.
21 One of the daughters of Ray Liotta and Lorraine Bracco’s characters, the one too shy to give Paulie a kiss when he visits their home, is actually the daughter of Harvey Keitel, with whom Braco had the child.
22 In order to better get into character, when driving to and from the set Ray Liotta would often listen to tapes of interviews Pileggi had with the real Henry Hill. Liotta noted that Hill spoke casually of murders and other serious crimes whilst eating potato chips.
23 After seeing the film, Henry Hill thanked Liotta for not making him look like an asshole. Ray Liotta response was to think to himself “did you even watch the movie?”
24 The famous long take of the Copacabana took just 7 to 8 takes to get right
25 Henry Hill’s life after he went into the witness protection program was adapted into a movie released the same year as Goodfellas – called My Blue Heaven. Nicholas Pilei’s wife wrote the script for the film.
26 According to Scorsese, legendary actor Marlon Brando attempted to persuade him to not make the movie.
27 The real life Henry Hill was paid around half a million dollars for the movie.
28 Robert De Niro was offered the roles of both Jimmy and Tommy. He chose the former.
29 Despite it’s status as a classic, Goodfellas only won one Oscar. And its winner, Joe Pesci, was so surprised, that his winning speech was one of the shortest in Oscar history, simply saying, “it’s my privilege, thank you”
30 Frank Vincent, the man who plays Billy Batts and is beaten and stabbed to death by Joe Pesci, and who also starred with Pesci in two other Scorsese films – Ragin Bull and Casino - actually has a long history with Pesci. The two used to be bandmates and a comedy duo in the late 60s. They also starred in the low budget 1976 mafia film The Death Colelctor, where they were spotted by Robert De Niro and Martin Scorsese, and eventually hired for their roles in Raging Bull.
31 The producer’s original choices for the roles of Henry and Karen were Tom Cruise and Madonna.
32 Paul Sorvini improvised the slap that his character gives Henry in the scene where Paulie confronts Henry about drug dealing
33 In the original shooting script of the film, the Billy Batts shinebox scene was the very first scene in the film, followed by the dinner at Tommy’s mother’s house. Then Liotta would say the phrase “As far back as I can remember I always wanted to be a gangster” and the movie would show his youth and growing up.
34 Early screenings of Goodfellas were met with poor reception. According to Pileggi, one screening had around 70 people walk out, and in another the film’s team had to hide at a local bowling alley as a result of an audience angry at the film’s level of violence.
35 In spite of the film’s violent reputation, there are only 5 on screen deaths
36 When Spider is shot by Tommy, Michael Imperioli broke a glass in his hand and had to be rushed to hospital. But when he got there, the doctors attempted to treat his apparent gunshot wound. When the actor revealed what his real injury was, he was made to wait for 3 hours in the emergency room. Scorsese told Imperioli that he would tell this story one day on the tonight show with Jay Leno, a prediction which cam true in 2000.
37 US attorney Edward McDonald, the fed who explains the ins and outs of the witness protection programme to Henry Hill and his wife, is actually playing himself in this scene, re-enacting the conversation he had with the real Henry Hill. McDonald volunteered to play the role and won a screen test when Scorsese was location scouting his office as a possible filming location.
38 The movie ends with Henry in the witness protection program, but after the film’s release, as a result of violating his terms and conditions, including going around and telling people who he was, Henry Hill was thrown out of the programme.
39 Henry requests that he isn’t sent anywhere cold when g egos into the programme. In the ending of the film, he picks up a newspaper for Youngstown in Ohio, a place which has below freezing temperaturs in winter, suggesting that Henry’s wish was not granted.
40 The film’s ending, where Joe Pesci fires several bullets staring at the camera, is a homage to the landmark 1903 short film The Great Train Robbery, widely considered one of the first narrative pictures. Scorsese saw his movie as part of a tradition of outlaws in American pop culture and noted that, in spite of the fact tat the two films are separated by almost a century, according to the man himself, “they’re essentially the same story.”

Me and my friend are both managing buinesses and we really want to try the diamond casino heist with 4 people. I am a rank 106 and my friend is rank 75. Been playing since 2014 and buinesses are still fairly new to us. We love to screw around and make money. Mic is prefered. Xbox One X ApeTheGreat9547 Al Pacino pic.

I admit, before I can properly give it a proper analysis, I’ll have to watch it again, but I have to say that I really loved it overall. It takes Scorsese’s older classics like Casino or Goodfellas, and slows the pace down a bit and made it a bit more meditative. I felt the pacing was perfect, despite the long runtime, and I felt the editing in general was really good (with the exception of few little technical errors laying around in a few places). It’s a lot less “fun” than Goodfellas or Casino, but I feel it also hits me a lot more emotionally than either of the aforementioned movies. It’s been kind of circlejerked at this point, but it really is kind of the Unforgiven of gangster films. I don’t think it’s an apology for Scorsese’s previous films as some have suggested, but I do definitely think it’s a reflection and subversion of them.
The acting in general was really good, but Pesci really gave the best in my opinion. It’s obviously way more low key and subtle than his previous roles in Scorsese films, but it’s still just as good. He’s still intimidating, just in a much different. I got chills when he his character was hinting to Frank that he was going to have to kill Jimmy. De Niro’s performance actually reminded a lot of his in Once Upon a Time in America. Pretty low key, and very solemn. It’s perfect for the part, but a little less memorable than Pescis performance. Al Pacino definitely jammed it up a bit, but it made for an incredibly entertaining performance.
I know a lot of people don’t care for the cinematography, but I quite enjoyed it. It’s not flashy, but it didn’t have to be. It was more than competent, and there were some really nice shots every now and then. It’s not as beautiful as Silence, but I still thought it was a really nice looking film overall, and the digital look didn’t really bother me.
It’s definitely not perfect, though. As many others have mentioned, the CGI rendering on the leads faces is pretty weird at first, but I personally got used to it pretty quickly. And moreover, the age of the actors is pretty obvious at a lot of points in the movie just by the way the characters move, but the only time I found it really distracting was when Frank was kicking the shop keeper. Nothing else really ruined my immersion to my recollection

Robert De Niro and Al Pacino are often paired as being a "classic" gangster Duo, but outside of Godfather Part II (where they share maybe one scene), Heat (where they're enemies) and Righteous Kill (which is terrible), the only film where they're a key duo is The Irishman.
On the other hand, De Niro is paired with Pesci in such fantastic, classic films as Raging Bull, Goodfellas, and Casino, along with smaller pairings in Once Upon A Time in America and A Bronx Tale. Like De Niro and Pacino, De Niro and Pesci are a key duo in The Irishman.
Overall, for as much as people love to pair De Niro and Pacino, De Niro and Pesci are a far more classic duo.

This post is to help those who have had their accounts compromised. I recently had my PSN account taken over last Saturday. I tried logging in and continued to fail. I clicked to reset my password and proceeded to check my email but I received no password reset notification. I did however see that I received an email earlier stating that my "Sign-In ID (email address) for your account has been changed". As everyone suggested, your only option is to reach out to support but I learned support is only live chat currently due to COVID and only on certain days and times. I Just happened to retrieve everything and wanted to make a post so others have an idea of where to go.
First things first:
- Cancel all cards associated with the account. Report it stolen and have a new card sent to you with new numbers. Monitor your account to make sure nothing has been spent without your authorization.
- Contact support at https://support.playstation.com/s/?language=en_US and within the yellow highlighted bar area at the top of the screen, click on "Click here to get started". (I reside in the US so this would be my link). When this happened to me, it was Saturday morning. I spend the next few hours looking for solutions and trying to figure out how to reach them and came to learn that DUE TO COVID, their phone support is currently not up. This leaves only the website for you to use. Now, while the bot says its available Mon-Sun, this also will not help you because you will need a LIVE AGENT. Live agent chats are only available between 8am - 8pm (PT) Mon-Fri. There is nothing you can do until then. This is the hard part because (like I commented in another post) it feels like you are Al Pacino in Ocean's 13, locked in the timed sealed security room vault while the casino gets emptied out. Not being able to do anything until the timer runs out. But fret not people, you cancelled the cards so there isn't much they can take anyways.
- Once support retrieves your accounts, SET UP 2 STEP VERIFICATION. All the time I had PS4, I never realized PSN had 2FA. And that was stupid on my part. I have it for everything from my emails to my steam and uplay. THIS IS A MUST. A verification code will always be requested once someone attempts to get in even if they have your password. You may feel its a hassle and an extra step but it's definitely worth having, ALWAYS.
-Make sure to download/save/record the BACKUP CODES you receive when enabling 2 Step Verification. If for some reason you lose your phone or can't receive the verification code needed to sign in, these backup codes will come in handy. You only get a certain amount of backup codes (10 codes I believe) and each code can only be used once.
YOU'RE NOT DONE, These last two are IMPORTANT:
- Check to see if your PS4 is ACTIVATED as your PRIMARY! This is paramount. It was the first thing I did after securing my account. I went into the playstation setting on the console and saw that this console is NOT set as my primary. When I tried to do so, it did not allow it because any console that has your accounted set as the primary must deactivate it first before you can set another as such. I saw that whomever got into my account had used the website to "deactivate all devices" and assign their console as the primary. It's important to note that you can only use "Deactivate all devices" once ever 6 MONTHS. So with this, I had to reach out again to support and explain what had occurred so that they can deactivate the hacker's console as the primary of my account. Support will have you fill out a "deactivate webform" form in your email and will state that it may take a few days for them to investigate and respond accordingly. It actually only took about 53 minutes for them to deactivate all associated systems which allowed me to activate my console as the primary. It is recommended that you do NOT make any PSN Store purchases until you have regained your system or whatever system you desire as the PRIMARY.
- Make sure to go to your PS4 console and click "Restore license" AFTER you have already set your console as the primary for you account.
After this, you should be done. You'll be more secure, and ready to purchase, play, and yell at those teammates who have been letting you down since grade school. God Dammit Jeffrey! Stay with the ****ing team!
( I should state, I AM NOT TECH SUPPORT. Just someone who recently finished going through this and giving you my experience to see if it may help yours. Only Support can help you.)
If there is anything I'm missing out that can help, feel free to let me know!
Edit: grammar
Edit 2: Thanks to u/MrAbodi for bringing up the BACKUP Codes you get from the 2 Step Verification. Included it above.

So lately I’ve been putting on The Big Lebowski on like every night before I go to sleep because it’s on Starz on demand (I should own this movie but 🤷‍♂️ )and I got to thinking how much I love “hangout” movies. I always have a movie on in the background, whether I’m cleaning, doing chores, folding laundry, writing, going to sleep or even just as background visual even if I know I’m putting headphones in.
I don’t know how to describe this sub genre, I guess there’s just a quality that makes these films so rewatch able, I don’t know if it’s because they can be relaxing or aesthetically pleasing or somehow or another satisfying. Enough to the point where I can literally watch some of these films every night for a week straight and not grow tired. I feel like this is exactly what Once Upon a Time in Hollywood was meant to be, like when Al Pacino describes his process of sitting down to relax and watch a movie — it’s like, that’s it, idk how else to describe it. I’m gonna name some of my favorites I guess for reference but if you got a movie you’ve seen a thousand times, makes good background noise, helps you sleep, or however else you’d describe this genre, please share! With no further ado and in no particular order:

• The Big Lebowski
• Pulp Fiction
• Snatch
• Blade Runner (2049 being right behind)
• True Romance
• Jackie Brown
• The whole Halloween series (mostly I & II, minus RZ)
• The Hateful Eight
• Escape From New York
• Once Upon a Time... in Hollywood
• The Wolf of Wall Street
• Casino
• GoodFellas
• Dr. Strangelove and How I Stopped Worrying and Learned to Love the War (full title out of respect lol)
• The Matrix
• Die Hard
• Cool Hand Luke
• Boondock Saints
• No Country for Old Men
• Indiana Jones series
• Raging Bull (kinda, sometimes too heavy)
• Skyfall
• Up in Smoke
• This is the End
• Pineapple Express
• The Thing
• They Live (John Carpenter shows up a lot idk I j love the mans style and rhythm 🤷‍♂️)
• American Gangster
• Friday
• Rio Bravo
• Dazed and confused
• The Godfather (1 and 2)
• There Will be Blood
• The Dark Knight (can be distracting with the performances tho lol)
• The Good, The, Bad, and The Ugly
• Once Upon a Time in the West
• Donnie Darko
• The Terminator
• Almost Famous
• Drive
• The Big Short
• Lucky Number Slevin
• The Warriors
• The Nice Guys
• Kiss Kiss, Bang Bang
• Bullitt
• Up in the Air
• Layer Cake
• Superman (1978)
• Spaceballs
• Real Genius (really digging into the classics now)
• Leon: The Professional
• Shaun of the Dead
• Hot Fuzz
• Baby Driver
• WALL-E
• The Losers
• Expendables
• Hancock
• Lucy
• Anchorman (most Will Ferrel Movies)

Anyway that’s all I can think of real quick from scanning my ratings on IMDb. If you got one you’d like to share please do... No really, please. Im from New York and we >deadass< think we gonna get quarantined. My life bouta feel like The Shining I need distraction
Er uh yeah thanks bros

These are in no order by the way:

1. Reservoir Dogs: loved the way it all climaxed in the final Mexican standoff with the remaining members of the crew, the storytelling and dialogue was great as well
2. Pulp Fiction: this is one of the movies that I can't explain why I love it so much, it's just such a fun watch
3. Once Upon a Time in Hollywood: the only one of these on the list that I saw in theater, I just fell in love with it, especially when the Manson storyline was introduced, that part was great
4. Taxi Driver: great atmosphere, loved the open ending (especially that final scene), great performance, just great in general
5. The Departed: this movie always kept me wondering what would happen next with all the twists and turns, Leo's and Matt's performances were great too
6. Superbad: one of the few typical high school comedies that I loved, there's jokes everywhere, but it also has a sweet part to it to, and as a high school student, some of it hits closer than it probably should have
7. Bad Boys: my favorite kind of movies mix humor and action, and that's exactly what this movie (and its sequel does)
8. Fight Club: I had no idea what this movie was about going in, so the entire thing was confusing at first, but it hooks you in and just keeps getting better
9. Scarface: a fantastic performance from Al Pacino is what really stood out to me in this movie, the story was great too
10. The Godfather: it's a great gangster film, and I love those, so this was a great watch, especially on the first one

These are films I've also seen, but didn't make the top 10:
Every Tarantino Film, Goodfellas, Casino, The Wolf of Wall Street, American Pie, Ted, Borat, Dazed and Confused, Dumb and Dumber, Bad Boys II, The Dark Knight, The Matrix, Training Day, The Usual Suspects, Fargo, The Green Mile, One Flew Over the Cuckoo's Nest, The Godfather Part II, Full Metal Jacket, Anchorman, The Town, Boiler Room, Gran Torino

Hi Camila_2049, you're not shadowbanned, but 97 of your most recent 142 comments/submissions were removed (either automatically or by human moderators).

Comments:

fuxvhse in batman on 15 Jun 20 (1pts):

Batman Forever?

fuxvb27 in batman on 15 Jun 20 (1pts):

no

fuxtq5r in JamesBond on 15 Jun 20 (1pts):

Because the world is not enough.

fuxtig7 in JamesBond on 15 Jun 20 (1pts):

Kinda.

fuxt7je in JamesBond on 15 Jun 20 (1pts):

I'm not sure we should cancel Bond.

No way

fuxt1hl in JamesBond on 15 Jun 20 (1pts):

No. I'm LGBT and i'm fine with the franchise

fuxsgs6 in JamesBond on 15 Jun 20 (1pts):

nope

fuxsf9y in JamesBond on 15 Jun 20 (1pts):

Is that mah boi Tanner over there?

fuxs35u in JamesBond on 15 Jun 20 (1pts):

Scaramanga was defeated too easy. The kung fu scenes. The movie's ending.
This movie should be gritty.

fuxrs6j in JamesBond on 15 Jun 20 (1pts):

Dalton is way better.

fuxro0r in JamesBond on 15 Jun 20 (1pts):

Moore was too damn old.

fuxr3zc in JamesBond on 15 Jun 20 (1pts):

The Spy Who Loved Me as well as there is a minor reference in Quatum of Solace What reference

fuxq6l0 in JamesBond on 15 Jun 20 (1pts):

Share with me pls

fuxpuzq in brasil on 15 Jun 20 (1pts):

Em O amanhã nunca morre, o antagonista faz fake news.

fuxogwg in brasil on 15 Jun 20 (1pts):

prega pela reabertura de tudo e diz " que temos que enfrentar o virus".

macho alfa uiii até fiquei molhada

fuxnuj7 in brasil on 15 Jun 20 (1pts):

Dou em cima dos rapazes.

fuxmjqv in brasil on 15 Jun 20 (1pts):

Você dá um conselho para ela e ela acha que não é certo, ela começa a brigar, a agredir até fisicamente

noffa q valentona fiquei com medo

fuxm7ki in brasil on 15 Jun 20 (1pts):

Ela vai beber as lágrimas k k k k k k

fuxlada in brasil on 15 Jun 20 (1pts):

Winter pediu reação do presidente

kkkkk

fuxl4kn in brasil on 15 Jun 20 (1pts):

This is so sad. Alexa, play Despacito.

fuxky1r in brasil on 15 Jun 20 (1pts):

Os 4 primeiros filmes do 007 com o Roger Moore, Trilogia Bourne e Goldeneye.

fuvcicq in brasil on 15 Jun 20 (1pts):

Ah sim. Mas é uma coisa que muita gente usa, tipo eu kk

fuvccko in batman on 15 Jun 20 (13pts):

It's way better than the one in TDK.

fuvc7ez in batman on 15 Jun 20 (10pts):

-I never said thank you.
-And you'never had to.

fuvc453 in batman on 15 Jun 20 (33pts):

Thanks to you, now i remembered the "it's not who i am underneath, but what i do that defines" said to Rachel. Such a great scene, with its music

fuvbszc in batman on 15 Jun 20 (7pts):

Thanks. Now i remember the ending credits theme <3
That music to me is hope.

fuvbmew in sexualidade on 15 Jun 20 (1pts):

É.

fuvbe6n in brasil on 15 Jun 20 (0pts):

Enfia no cu a sua transfobia e etiqueta, fresco.

fuvb5vr in brasil on 15 Jun 20 (1pts):

em horários de pico é comum só poder usar o cartão.

Muito eficiente. Pior coisa é o cara entrar e não conseguir tirar o dinheiro do bolso. Ou a mulher procurando na bolsa... e a fila se formando.

fuv8a6e in JamesBond on 15 Jun 20 (1pts):

lol

fuv85dr in JamesBond on 15 Jun 20 (1pts):

Craig fought an assassin

Bautista's character in Spectre?

fuv835v in JamesBond on 15 Jun 20 (2pts):

HOLY SHIT

fuv747g in brasil on 15 Jun 20 (1pts):

Mas não em site pornô, ufa kk

fuv6zoe in brasil on 15 Jun 20 (1pts):

Sweet Sam, Reversa, etc
tem peças masculinas

fuv2pl6 in brasil on 15 Jun 20 (1pts):

Só download de filmes

fuv2gii in brasil on 15 Jun 20 (1pts):

Depende... eu por ex só compro online em lojas "góticas". E de vez em quando ml peças básicas. Comprei duas calças por 130.

fuv1uct in brasil on 15 Jun 20 (1pts):

"a vivo faz traffic shaping"
Não comigo.

fuv1jho in brasil on 15 Jun 20 (1pts):

cabeleireiros

Pq?

fuv1hk0 in brasil on 15 Jun 20 (0pts):

Nos EUA é assim?

fuv0d1z in brasil on 15 Jun 20 (1pts):

Carlixo.

fuv04hx in brasil on 15 Jun 20 (3pts):

Indiano milton miltando no milto

fuv0193 in brasil on 15 Jun 20 (7pts):

Milton

fuuzvpk in brasil on 15 Jun 20 (3pts):

Guerra civil...

fuuzp4c in brasil on 15 Jun 20 (1pts):

E ter filhos é só status hoje ?

Pra familia de propaganda?

fuuzklj in brasil on 15 Jun 20 (1pts):

tive que usar até cobertor!

Tu dorme de lençol o resto do ano?

fuuzf8s in brasil on 15 Jun 20 (2pts):

É raro eu ter paciencia pra livros...

fuuzb67 in brasil on 15 Jun 20 (1pts):

+ ou -

fuuj63x in brasil on 14 Jun 20 (1pts):

A Arlequina Cloroquina do BR. Jair é o Mr.J!

fuudq8d in moviescirclejerk on 14 Jun 20 (2pts):

rock raccoon

fuuclup in lgbtportugal on 14 Jun 20 (1pts):

[http://g1.globo.com/ceara/noticia/2017/03/apos-agressao-dandara-foi-morta-com-tiro-diz-secretario-andre-costa.html](http://g1.globo.com/ceara/noticia/2017/03/apos-agressao-dandara-foi-morta-com-tiro-...

fuucb8h in fetiche on 14 Jun 20 (2pts):

<3

fuuc1nt in fetiche on 14 Jun 20 (1pts):

Tesão

fuubrv6 in sexualidade on 14 Jun 20 (1pts):

mete a vara

fuu3o1y in brasil on 14 Jun 20 (5pts):

Desde que vc chore de dor, Bolsominion.

fuu2rdb in JamesBond on 14 Jun 20 (0pts):

Such an shitty movie.

fuu1awp in brasil on 14 Jun 20 (1pts):

._.

fuu01s7 in brasil on 14 Jun 20 (1pts):

Why?

futzvd0 in entertainment on 14 Jun 20 (1pts):

LMAO

futz6gc in sexualidade on 14 Jun 20 (1pts):

https://fetlife.com/

Infelizmente quase ngm usa...

futygyh in brasil on 14 Jun 20 (2pts):

SUMBODY SAVE ME

futxucl in brasil on 14 Jun 20 (1pts):

Cidadão de bem não existe.

futxkh4 in brasil on 14 Jun 20 (1pts):

"internet:serious business"

futxbmj in brasil on 14 Jun 20 (1pts):

"Deus só cuida de quem ele pode" Então não é omnipotente.

futwx5x in brasil on 14 Jun 20 (3pts):

Dá pra ele então

futwnnm in brasil on 14 Jun 20 (1pts):

Tá afim de levar um tapa, Jair?

futwgrp in brasil on 14 Jun 20 (1pts):

manda

futwart in brasil on 14 Jun 20 (6pts):

porra esse ano não dá uma dentro

futw51o in brasil on 14 Jun 20 (9pts):

Eu imagino um velho ou tiazona ranzinza, de 50 anos, reclamando pq a máscara atrapalha a respiração. Dai sai te empurrando...

Submissions:

h9obrt in JamesBond on 15 Jun 20 (1pts):

Favorites movies names?

h96tco in fetiche on 15 Jun 20 (3pts):

Marca de bikini

h96qv7 in fetiche on 15 Jun 20 (4pts):

Cuzinho de macho.

h814pm in fetiche on 13 Jun 20 (6pts):

Mulheres que fumam

h80dpw in JamesBond on 13 Jun 20 (0pts):

Best use of 007 theme

h7yvty in JamesBond on 13 Jun 20 (2pts):

Memories of 007 in your childhood?

h7ym6v in JamesBond on 13 Jun 20 (3pts):

Saddest scenes

h7yhtf in JamesBond on 13 Jun 20 (1pts):

GoldenEye and Casino Royale

h7rx15 in brasil on 12 Jun 20 (1pts):

O que fazer com duas parcelas de 300

h7rv4m in sexualidade on 12 Jun 20 (3pts):

Pornochanchada

h7rtgr in sexualidade on 12 Jun 20 (1pts):

Porno amador ou "comercial"?

h16h9m in JamesBond on 11 Jun 20 (4pts):

Most annoying characters besides sheriff Pepper?

h160cp in sexualidade on 11 Jun 20 (24pts):

Sexo casual e amizade

h15nub in sexualidade on 11 Jun 20 (2pts):

Houve alguma mentira do porno que vocês acreditaram?

h0m6p1 in JamesBond on 10 Jun 20 (14pts):

Had a third movie with Dalton been made

h0lx83 in brasil on 10 Jun 20 (14pts):

Vocês tem/terão amizade com gente que fura a quarentena?

h04nn5 in fetiche on 10 Jun 20 (7pts):

Traje social feminino e masculino

gzdjbd in moviescirclejerk on 09 Jun 20 (11pts):

Cape fear (1991) is the greatest capekinoshit.

gzbxl6 in moviescirclejerk on 09 Jun 20 (20pts):

Movie: 5/10 Audio:9/10 Video:10/10

gzbk9f in JamesBond on 09 Jun 20 (0pts):

Serious/dark tone in Moore's films

gz68eo in moviescirclejerk on 08 Jun 20 (7pts):

A comedy actor directed a gritty drama. A comedian actor became the Al Pacino of the 2010's.

gz5vqf in fetiche on 08 Jun 20 (5pts):

Sexting

gz51vr in moviescirclejerk on 08 Jun 20 (18pts):

Zack Splinter is my favorite director

gysqtf in moviescirclejerk on 08 Jun 20 (22pts):

Transformers the last knight is the perfect blockbuster movie.

gysm0n in moviescirclejerk on 08 Jun 20 (47pts):

Ant-Man is genius, and it's taken me this long to realize

gykphh in sexualidade on 07 Jun 20 (58pts):

Nudez.

gy6wvo in moviescirclejerk on 07 Jun 20 (5pts):

Serious question wich one is better Shawshank Redemption or The One starring Jet Li?

gy36v3 in sexualidade on 07 Jun 20 (3pts):

Sobre o Coronavirus e transas.

gu4fr7 in HorrorMovies on 31 May 20 (16pts):

Henry portrait of a serial killer (1986)

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Friday, November 8th 2019:

• Manual Cinema's "Frankenstein", November 7 - 9: Hailed as “endlessly imaginative and exquisitely beautiful” by The New Yorker, Manual Cinema’s Frankenstein stitches together Mary Shelley’s classic novel and the author’s own biography to create a thrilling new gothic tale about the beauty­­––and horror­­––of creation. The internationally renowned multimedia company Manual Cinema, whose production of The End of TV delighted New Haven audiences at the 2017 International Festival of Arts & Ideas, combines handmade shadow puppetry, cinematic techniques, and innovative sound and music to create immersive visual stories for stage and screen. Various Times, $40-$50 University Theatre, 222 York St., New Haven
• A DAY TO REMEMBER, November 8th: --- "All I Want" Over the course of the past several years, each of A Day To Remember’s releases have hit No. 1 on Billboard ’s Rock, Indie and/or Alternative Charts, they’ve sold more than a million units, racked up over 400 million Spotify streams and 500 million YouTube views, garnered two gold-selling albums and singles (and one silver album in the UK) and sold out entire continental tours, amassing a global fanbase whose members number in the millions. All of which explains why Rolling Stone called them “An Artist You Need To Know.” 6:30PM, $25-$45 Mohegan Sun Arena, Uncasville
• SKID ROW -- NOT SEBASTIAN BACH :( November 8th -- "18 And Life": The first rebellion started in 1986. New Jersey kids, Punk and Metal attitude, determined to conquer the world. All for one, banded together with single-minded purpose. The battlefield was the stage, the songs their arsenal in an us-against-them musical coup d'état. As the energy for the new album and tour is reaching fever pitch, enter ZP Theart. “I've been a mad fan of this band since I was a teenager, and to now be a member of Skid Row, is beyond any sense of my imagination! We'll be hitting the studio to get started on some new material and I'm beyond excited to say the least. This is a whole new deck of cards and there's gonna be no holding back!” Theart adds. That sound is rambunctious exuberance. They got older, but Skid Row never really grew up. United World Rebellion – Chapter Three is still the youth gone wild, their musical spark still burning gasoline. ​ “I will always be that 16-year-old kid in front of the mirror, pretending to be Ace Frehley or Michael Schenker,” Dave “Snake” Sabo admits. “It's still about writing a great song with your friends, praying it connects with someone. That has never left me. That willfulness will always exist, and there's so much left to say!” ​ 8:00PM - FREE Wolf Den @ Mohegan Sun, Uncasville

Saturday, November 9th 2019:

• Moose on the Loose: Connecticut Moose Adventures November 9th Learn all the scoop about this incredibly majestic and …er…really big mammal from State of Connecticut DEEP Wildlife Biologist, Andrew Labonte and associate Jake Harton, aka Connecticut’s Moose Man. How did Jake acquire that moniker??? Andy will address our Connecticut moose population and teach us about its natural history, habitat, and where moose sightings are most frequent in our state. I won’t tell you what Jake is up to. He is a wonder! Pre-registration and pre-payment are required. 2:00 & 3:00PM, $5 White Memorial Conservation Center, 80 Whitehall Rd. Litchfield, CT
• The Machine performs Pink Floyd November 9th: The Machine performs Pink Floyd, America's top Pink Floyd show, has forged a 30-year reputation for extending the legacy of Pink Floyd, selling out theaters, premier showcase rooms and casinos across North America, Europe and Asia, performing at renowned music festivals such as Bonnaroo, Riverbend, and Gathering of the Vibes, and sharing the stage with full symphony orchestras, including the Atlanta, Detroit, Pittsburgh, Jacksonville and San Diego Symphonies, as well as the Buffalo Philharmonic. The New York-based quartet performs a diverse mix of The Floyd's extensive 16-album repertoire, complete with faithful renditions of popular hits as well as obscure gems. With stellar musicianship and passionate delivery, The Machine explores collective improvisation rivaling that of an early 1970s Pink Floyd. Their use of expanded theatrical elements and elaborate stage displays and lighting continues in the spirit of the later Floyd of the 1980s. The band is also known for recreating entire albums as a part of their show, accepting requests from fans, and for taking an A to Z approach in which one song is played for every letter of the alphabet. Special shows include lasers by the same company that provides classic Pink Floyd laser effects for Roger Waters and David Gilmour tours. 8:00PM, $29-$59 Palace Theater, 100 East Main St. Waterbury, CT
• "The Play That Goes Wrong" November 9 - 10: What would happen if Sherlock Holmes and Monty Python had an illegitimate Broadway baby? You’d get The Play that Goes Wrong, Broadway and London’s award-winning smash comedy! Called “A GUT-BUSTING HIT” (The New York Times) and “THE FUNNIEST PLAY BROADWAY HAS EVER SEEN” (HuffPost), this classic murder mystery is chock-full of mishaps and madcap mania delivering “A RIOTOUS EXPLOSION OF COMEDY” (Daily Beast). Welcome to opening night of The Murder at Haversham Manor where things are quickly going from bad to utterly disastrous. With an unconscious leading lady, a corpse that can’t play dead, and actors who trip over everything (including their lines) Various Times, $39-$96 Shubert Theatre, 247 College St. New Haven

Sunday, November 10th 2019:

• Disney Junior Holiday Party November 10: Interactive show features favorite Disney Junior characters, including Mickey Mouse, Minnie Mouse, Vampirina and Bingo and Rolly from "Puppy Dog Pals" performing live on stage to Disney Junior hits and other holiday classics such as "Jingle Bells" and "Deck the Halls." Various Times, $29.50-$59.50 Toyota Oakdale Theater, 95 South Turnpike Rd. Wallingford, CT
• "The Godfather Part II" November 10 Ridgefield Playhouse: A timeless classic best revered on the big screen, time tested fans and newcomers alike won’t want to miss this special event featuring exclusive insight from Turner Classic Movies! Francis Ford Coppola continues his epic Godfather trilogy with this saga of two generations of power within the Corleone family. Coppola, working once again with the author Mario Puzo, crafts two interwoven stories that work as both prequel and sequel to the original. One shows the humble Sicilian beginnings and New York rise of a young Don Vito, played by Robert De Niro in an Oscar®-winning performance for Best Supporting Actor. The other shows the ascent of Michael (Al Pacino) as the new Don. Reassembling many of the cast members who helped make The Godfather®, Coppola has produced a movie of staggering magnitude and vision, the film received eleven Academy Awards® nominations, winning six including Best Picture of 1974. A timeless classic best revered on the big screen, time tested fans and newcomers alike won’t want to miss this special event featuring exclusive insight from Turner Classic Movies. 7:00PM, $12.50 Ridgefield Playhouse, 80 East Ridge Rd. Ridgefield, CT

Here's a link to more activities in CT!

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How about see a newly released movie like these:
Doctor Sleep
Honey Boy
Last Christmas
Midway
Playing with Fire
Arctic Dogs

Martin Scorsese’s The Irishman is a movie that I wasn’t looking forward to. Despite Scorsese being my favorite living filmmaker, and his previous movie (2016’s Silence) being one of his best, the lead up press going into the production of this movie did not get me excited. There was much made about who was going to be in it: Robert De Niro and Joe Pesci coming back to collaborate with Scorsese for the first time since 1995’s Casino, Harvey Keitel coming back to Scorsese for their sixth movie together and the first since Last Temptation of Christ in 1988, Al Pacino working with Scorsese for the first time, Scorsese’s Gangs of New York co-writer Steve Zaillian writing the script from the book I Heard You Paint Houses by Charles Brandt. And a lot of talk of how this was Scorsese back with another mob movie, the genre he’s most associated with despite it only being about 5 out of 40 movies he’s made. It all had a feeling of “let’s get the band back together before we all die (De Niro is the youngest of the group, having just turned 76) despite us not being able to make great music anymore.” Scorsese has been doing great work his whole career but when was the last time De Niro was great? Jackie Brown, I guess? That was 1997. Pacino? He’s been all over the place the last couple decades and even when he’s been great the movies usually aren’t as good as him. And he’s been terrible in terrible movies as well. Pesci has been retired. I didn’t realize that Keitel wasn’t, I just haven’t seen him in a while. There were reports that the budget of the movie ballooned due to the de-aging technology Scorsese was employing to make the actors look younger (makeup wasn’t gonna cut it). The announced runtime was three and a half hours. The movie just had a cloud of “potential disaster” hanging over it to me. It was a weird feeling that everyone seemed to be excited about this project except for me, the big Scorsese fan. I just had a bad feeling about it.
I’m happy to say I was shown pretty quickly that I needn’t have worried. The 3.5 hours flies by in a really delightfully wonderful way. Scorsese, the one of the group with the best track record, was the one in charge here and he’s still at the top of his game even at the age of 77. The Irishman follows the career and life of Frank Sheeran (De Niro) as he gets involved with mobsters like Russell Bufalino (Pesci) and eventually with legendary Teamsters President Jimmy Hoffa (Pacino). Sheeran becomes a confidant, driver, muscle, and hit man for both men. He also sometimes has to play peacemaker between the hot headed Hoffa, and the quieter, more controlled and diplomatic Russell. And although a lot happens plot wise, most of the movie hinges on those three actors acting those parts.
Pacino is right at home in the role of the loud mouthed Hoffa. Hoffa loved hamming it up and being the person everyone in the room had their eyes on. But even though Pacino has become known for his big outbursts and over the top performances, he’s always been more interesting in his quieter moments. He’s got both here. Hoffa lets down his guard around Frank, we see the firebrand out in public and the loving husband and father he was at home, and Pacino is infinitely watchable in all of his moments. It’s a terrific performance and definitely one of Pacino’s late career highlights.
Pesci was typically the one to take on the “wild card” role, whether it was Tommy in Goodfellas or Nicky in Casino, or even in non-Scorsese roles like My Cousin Vinny or Home Alone. He was the one with the twinkle in his eye that you didn’t know what he was gonna do and you couldn’t take your eyes off of him. Pesci’s role here is much more subdued but no less watchable. Pesci is magnetic and you can feel Russell’s power just from the looks he is giving and the carefully chosen words he says. It’s not the Pesci I expected to see and I’m very happy about that because he’s extraordinary here. His final scenes, where you can see the ravages of old age tearing down this powerful man, are heartbreaking and never because Pesci is pushing for that, he just embodies it and let’s us see. It’s my favorite of the performances in the movie.
De Niro shows that he simply hasn’t worked with the right people in the last 20+ years. He’s not had roles that were worthy of him and he’s seemed okay with that. Even with his collaborations with David O. Russell, I didn’t care for the performances that much. They weren’t bad, but De Niro’s Oscar nomination for Silver Linings Playbook felt more like a “congratulations on trying again, Bob” nod. But with Scorsese, working together for the ninth time, De Niro has a filmmaker who is not only worthy of him but pushes him into higher levels of genius. De Niro is one of the greatest actors we’ve ever been given, and although his work here isn’t up there with Godfather part 2, Raging Bull, Taxi Driver, or maybe even Goodfellas, it’s still great work. It’s just at a “one of the best of the year” levels of performance instead of his past “one of the best of all time” level. De Niro makes us believe the journey, even when some of the CGI de-aging looks a little weird. His ability to play the ruthless mob killer as well as the conflicted protector of two guys with two different ideologies as well as the broken old man just wanting to apologize to his daughters for being a shitty dad is really astounding when you think about it. And Scorsese lets the camera linger a lot on De Niro’s face, which tells so much of Frank’s inner journey that goes unsaid with dialog. Scorsese trusts De Niro and trusts that the audience understands and cares about this guy.
The rest of the supporting cast is littered with terrific actors, characters, and performances as well. Ray Romano as Russell’s lawyer, Jesse Plemons as Hoffa’s son, Keitel as a mob boss (though he’s hardly in the movie, which surprised me given his history with Scorsese, he’s only got a couple of lines), Stephen Graham as a rival mob boss named Tony Pro, and others. My favorite of the bunch might’ve actually been Anna Paquin as Sheeran’s daughter who seems to always be watching him. Paquin has only maybe 3 lines of dialog in the movie, and is played by a different actress as a child, but that character is always looking at Frank, suspicious, almost like an angel watching as her dad digs his moral grave. She’s a felt presence more than a character who engages in the action.
But this begs a question that comes up in me from time to time: Why do we care about the things bad people do in movies? Scorsese has made a career of exploring the high and low in humanity, the desperate reach up towards God, the struggle of faith, the search for love and inner peace, and also made movies about the dark thoughts inside our minds, the self destructive behaviors we may or may not be aware of. Scorsese has also made, even as he and I both bristle at him being called a “mob movie director”, movies about terribly angry gangsters whose lives are filled with the constant threat of violence, almost as a specter always following them around waiting to explode at a moments notice. Scorsese, especially alongside his legendary collaborator in editor Thelma Schoonmaker, makes these violent excursions into propulsive entertainment in a really crowd pleasing way and I’m honestly not sure why we’re compelled by it. I am compelled, but I’m not sure why.
This is all pretty well trodden ground in movies, and by Scorsese in particular. What is here that wasn’t already in Casino or Goodfellas as far as theme, character, and even plot? Sure Scorsese hasn’t ever made a movie about Jimmy Hoffa, but the structure and the characters are all mob archetypes and Hoffa is no different.
What does this movie say? Scorsese got in a lot of hot water recently for disparaging Marvel and superhero movies as being closer to theme park rides and “not cinema.” There has been a whole debate about this issue, and I don’t care to rehash it here too much other than to say that Scorsese said those movies don’t really surprise us. They don’t have any revelations for us, or teach us anything, and are essentially remakes of each other. Obviously he’s wrong about all of that, superhero movies are no different than the mythological stories that have captivated humans as long as humans have told stories. But if you’re going to say that about other people’s movies, you’re going to bring that scrutiny down onto your own movie and so I’ve gotta ask what revelations The Irishman has for us. Does it teach us anything? Is it assembled from elements of stories we’ve seen over and over again? No matter that I love Scorsese as a filmmaker, I come down on the side that it doesn’t really have anything to say. It doesn’t teach us anything and is mostly recycled from pieces of other movies. It’s different that we see these guys as old men grappling with the decisions they’ve made in life, struggling against old age and the changing of generations, but even that isn’t surprising or revelatory exactly. However, it’s a testament to Scorsese that he can make the movie extremely enjoyable while not surprising us.

I know this take is super late but whatever I'm in class and this was on my mind:
I understand that people like this movie a lot, but I don't see it. I have seen it on more than one occasion so I could try and understand why people like this movie. I have talked to people who have seen it. I've watched video essays on it. Despite all that, I don't understand why the movie reached such acclaim.
Let me start by listing the things I like about this movie:
Al Pacino's performance as Jimmy Hoffa is damn good, most likely being the best performance in the movie. He's a fantastic actor, so this comes as no real surprise. I wouldn't say anything extreme like it was better than his role as Michael Corleone, but it was a strong depiction of Hoffa. His personality, while grounded in the blue collar work ethic and his hard-fought virtues, is damn-near larger than life. Every scene he's in, he commands your attention, with his brazen, confrontational attitudes, to his somewhat humorous manner.
Joe Pesci, while absent in some long stretches of the movie, gives a good performance of Russell Bufalino. This was a noticeable departure from the more fiery roles we come to expect from Pesci (like Goodfellas and Casino) but he nonetheless is one of the best parts of the movie. There's an empathetic, caring nature of his character that contrasts nicely with the more conniving, apathetic business side of him.
The story is legitimately interesting. I understand this mostly lies in the real-life mythos of the disappearance of Hoffa, but it's impossible not to gawk at the sheer size of the story. Constant power struggles between various mobsters? Union campaigns? Fighting for control of the Teamsters? There's nothing about the story that is not pure intrigue.
Now, for the things I dislike about the movie:
FRANK SHEERAN
Frank Sheeran is a character with a complete lack of depth and personality. I'm not trying to be hyperbolic here, but could they have made the protagonist any more unbearably boring? I don't even fault De Niro too much for this because he does the best with what he's given. Unfortunately, what he was given was a completely blank slate, and Scorsese said "Be like this." Sheeran is a "witness character," meaning that he watches more powerful and interesting people around him do a bunch of important and powerful shit before he gets his one moment to do something that defines the story. He has few, if any, discernible character traits, except that he was violent one time to a shopkeeper and he is friends with Jimmy Hoffa. We're *supposed* to believe that this character is important and wields a level of influence and power, both in the mob, and in the Teamsters, yet, somehow, he is constantly powerless to affect any change in the story. On top of this, he has no character arc. He starts killing people, and he hurts a shopkeeper one time. At some point down the line, he kills his friend, and that makes him sad.
It takes him 3 hours and 47 minutes of film time to realize that killing is wrong? Oh my god, what genius!
I understand that what I just said was reductive, but I'm trying to illustrate the lack of thought given to an arc that was placed there rather intentionally. He's a hitman, a union leader, and the confidant of Jimmy Hoffa who struggles in his parental role as he resorts to violence too quick. There is a rich arc there that should be told, but this has to be balanced with him not doing anything so the main story can play out.
My main point about Frank is that the movie doesn't know whether or not to make him important or completely passive. Let's be clear: passivity has a place in storytelling. One of the best examples I can think of is Nick Carraway from The Great Gatsby, where him being a witness makes more sense and serves more of a purpose. I'm not saying it's impossible for a passive witness to be given an arc, but that's a challenge which requires a deft hand that the writers did not have when writing the script, as the film constantly flops between "Oh he's important and a character you should focus on!" and "lol nvm not really."
CHARACTERIZATION
Building off the last point, the characterization has serious issues that no one seems to address when talking about this movie. We are constantly given information about characters via cutaways, montages, or people just fucking telling us. Let's keep talking about Frank, since we were just talking about him. We are told Frank is a hitman for the mob when we see a montage of Frank throwing guns in a river while his older self narrates over it, and then we are shown that he has grown to be more violent in regular dealings when he beats up the shopkeeper. Aside from the fact this is very sudden and takes place over the course of 2 minutes, why did this change have to happen if we were just going to be told it anyway? Why not introduce him as a hitman struggling with his growing violent tendencies? Also, and much more egregious, why the hell is this the only real incident of his violent behavior affecting him outside of work? That's clearly what the scene is trying to portray, but it only happens once. If his character is changing, then it isn't just a one-time thing. Patterns form, with the violence potentially growing, as his character steeps deeper and deeper away from acting how he used to. Eventually, with his murder of Hoffa, he comes to realize how much he's changed as a person. Not only does that sound more intriguing, it's also more realistic.
This affects more than just Frank though. What about Russ, who was one of the better parts of the movie? Well, we see him dine with Frank a few times in the beginning, and we are literally told that Russ saved his life and that he is a great friend to Frank. Obviously, this is meant to communicate that he considers Frank a friend. Unfortunately, this suffers from the same mistake as last time. Russ is straight up absent for a huge part of the middle of the movie, where he all but disappears. How are we supposed to believe that he's a great friend if we've just seen them eat and bowl twice and we're just told it once? That doesn't make the audience believe anything.
The story is severely limited by the way in which characters are built, as it weakens the impact that arcs can have, and it puts a severe damper on potential character moments. Instead of letting us see how a character is, we have to constantly be artificially told how things are, or how this character is, when a better alternative would be to show us naturally.
THE TONE
This movie is pretentious as hell for a story that has such a weak protagonist and characterization. Everything about this movie screams "TAKE ME SERIOUSLY!" as if it was a fucking Christopher Nolan movie. The muted colors, the ham-fisted symbol of the daughter, the loaded cast of people who do absolutely nothing, and the hilariously dumb stills of characters with their faces and their deaths.
I understand that they aren't 1-to-1 but tell me that those still shots of the faces with their fates isn't as ridiculous as this video:
https://www.youtube.com/watch?v=fOpapeX6Vzs
Also, how quick was the whole idea of "painting houses" dropped? As soon as he stopped painting houses in the movie. I mean, he does this whole pretentious, "Before the mob I thought when you said you paint houses, it meant you paint houses" speech. Then, when they get on the road, they do a laughably bad edit of the car and these 3 black frames coming in and out saying "I HEARD YOU PAINT HOUSES."
This movie is horribly pretentious for the story it tells. Hell, it's pretentious for the story it's trying to tell too. At its best, while it is a story about the Teamsters and the mafia, the story of a violent father, and the story of the greatest Union leader the US has ever seen, it's also not a super complex analysis of the way of the world or human nature. I mean damn, the Godfather is much more thorough in its dissection of capitalism, family, and masculinity, and if it had some of the shit that was in this movie, it would be too much.
ANTI-AGING
This isn't as serious a criticism of the movie but I think it's important to mention: the technology is fucking stupid.
First off, while I acknowledge how impressive the technology is, it's extremely limited in what it can do. Sure, these characters look SLIGHTLY younger. They also still move like old people because old people are the actors getting re-aged. Yes, if they sat down in front of me and stood still, I would be convinced, but no, I watched a geriatric De Niro beat up a shopkeeper with slightly smoother skin. It wasn't convincing.
Second, how much age does it really take off? De Niro does not look that young in the beginning of the movie, like he's pushing 55-60. That's an achievement, but it's not super effective to the audience. Plus, any age after that still makes him look really damn old. I have to be honest, I thought De Niro looked the same across however many years it was supposed to be. It didn't impact my viewing experience tremendously, but it was weird.
This brings me to my main point: why the fuck wouldn't you hire younger actors? Sure, I understand that these people are all legends and they can act and all that, but this younger generation has some great actors too. Is it in any way possible for the mantle to be passed? Mob movies are among some of the greatest movies ever made. Do we just let the flame die out because there will be no more actors from the original movies? What a ridiculous notion. I want to see new movies, new art being made. This movie feels like it's supposed to be a farewell, but art is supposed to evolve. You don't just close it up and say "We're done, no more." You keep the style going until it's outta gas. Using old actors will probably kill off this genre quicker than the styles being outdated.
CONCLUSION (tl;dr)
This movie has serious flaws that diminish some of the potential good that is inside this movie.

Scorsese is my favorite director and has directed my favorite movie of all time Goodfellas. It seems he never disappoints with his mobster movies, goodfellas, casino, the departed etc. The cast is obviously stacked as well. I’m also pretty sure this is Al Pacinos first time working with Scorsese as well. I’m really hoping it’s not a let down.

There is a girl I have been seeing for past 2.5 months. Now for backstory She and I are college students and live 6 hours away. Since mid June we started talking , but I had to leave for my internship and couldn't meet her. And when I came back she left for hers. While I was on my internship we used to talk over phone a lot....late nights. But as her internship was out of the country... We hardly got time to talk, and every 3-4 days video call once. After she came back....my semester started and I am busy with project work.
Now I'm not a guy who is into long distance relationship, but she just seemed perfect for me... everything about her ..I liked it ,but until I met her I was not ready to officiate the relationship. And I can meet her only in September.
We didn't talk for a few days...and I'm losing the connection I had with her like I had during my internship period...but still care for her (or maybe I'm just too lonely). But I kept thinking that we would get back smoothly when things go smooth for us ( we both live a hectic life) MAIN PART- Yesterday she texted me saying she's in dilemma. Her ex started texting her how much he loves her and how he used to stand outside her college just to see her. And how much he adores her and wants to get back with her before he shiftscities. And now she's asking me if she should leave for him. And now told me she thinks she should "go back to him"
Now this guy didn't go to college and works and has time to do this kind of stuff. I'm so busy with college and stuff I physically cannot do that.. ever.
Now I'm not sure if she's just shit testing me, wants my attention or what??? I am totally pissed off at this stupid drama, but a part of my heart doesn't want to let her go. Or she's just to sympathetic to her like Al Pacino's wife was to her ex in movie CASINO I don't want to act rough and regret or be so impotent to let her go... I don't know what to do.....
UPDATE - I told her the spectacular points made by you all and how disrespectful it was for her to compare me to her ex and liking someone for having too much time for her, while I tried to find time for her in my hectic schedule. She asked me if she left for him after she finds out her unresolved feelings., I said I'll wish her luck and thanked her for not cheating. She started creating more drama over texts... Frankly speaking I didn't even read all those long texts, except the one she claimed to have feeling for him. And I wished her luck , she thanked me for making her realise it ..I said " I didn't do anything. You knew it all along and you resolved it on your own"
Probably she did it to gain my attention whatsoever, I didn't think it was right of her to compare me to her ex. And guys pray for me that I find someone even better than her. Thanks