Martin Scorsese | 139 mins | DVD | 18 / R
These days perhaps even more praised than Taxi Driver, Goodfellas tells the true story of Henry Hill’s 25-year career as a gangster.
It’s certainly a notable achievement on virtually every level, which are too numerous to list here. The use of popular music struck me especially though, creating a sense of time (and never too obviously) while also complementing the visuals in its own right.
In the lead role, Ray Liotta seems to have been underrated, lost behind the top billing of De Niro and the award-winning craziness of Joe Pesci. He carries the film, with a performance that isn’t showy but is perfectly pitched.
I didn’t fall in love with the film as so many seem to have, but I also don’t think there’s really any denying its worthiness for full marks.
A new, restored Blu-ray of Goodfellas is released in the UK today, 25th May 2015.
Much praised, discussed and quoted, Taxi Driver needs little introduction. The weight of expectation also makes it hard to judge when first viewed.
Underrated black comedy from the prolific partnership of director Scorsese and star De Niro.
A surprise hit on release, this live action adaptation of the cult comic book is an exciting and entertaining, though flawed, mix of pulp fantasy, gothic style and action.
Drama (though it does include some very funny bits) focusing on the interrelationships of a handful of 40-something New Yorkers.
I know some people love the work of Tati, just like there’s always someone who loves everything; personally, I find his films largely dull. His character, Monsieur Hulot, is like Mr Bean but less funny (don’t worry, I know Hulot comes first by a good few decades). There are some laughs to be had in Play Time, but they’re a long way in and not necessarily worth waiting for.
Anthology of three shorts, connected only by the New York setting (which, incidentally, may as well be anywhere in all but the last segment).
My experience of David Lynch’s work has so far been limited to 
Widely considered to be Woody Allen’s breakthrough movie and winner of four of the ‘Big Five’ Oscars. One might call it a romantic comedy, but it’s very much an indie comedy-drama (for one thing, it utilises the ever-popular tactic of not taking place in chronological order), rather than the mainstream cliché-fest that first springs to mind whenever “rom-com” is mentioned.
It’s hard to know what to make of this, because by the end it all seems a little pointless. The storyline, which follows Nicolas Cage’s paramedic across three nights in New York, is a mixture of short episodic medical incidents with longer threads that continue throughout. These connect and fall apart, feeling as episodic as the rest, and most of them don’t really lead anywhere.
100Films.co.uk 