Casino

I have to admit my bias, because I believe that Scorcese cannot do wrong - ever. Even his lesser-known or critically panned films are above the "great film" line, and Casino is certainly no exception.

Casino spans three decades and chronicles the true story of a faction of the mob who ran Las Vegas casinos. Robert DeNiro plays Ace Rothstein, a fantastic bookie who is chosen to run the Tangiers hotel and casino. Along the way, he marries a drug-addicted con-artist trophy wife (Sharon Stone) and struggles with his friendship with loose-cannon Nicky Santoro (Joe Pesci). Rothstein is a complicated figure in that he is not a heavy, yet he wields a lot of power due to the respect he has gained from his mob bosses back home.

Robert DeNiro and Joe Pesci are both fantastic in their roles, and Sharon Stone actually turned out a non-irritating performance. As the viewer, you can't stand her, but that is the point. Scorcese's normal supporting cast are also involved in this film, including his great mother - even though she usually has incredibly minimal roles, they are always memorable.

Scorcese seems to have several different directing styles, and Casino follows in the tradition of Goodfellas as a pseudo-documentary. A lot of the exposition is revealed by the characters themselves in the form of voice-overs, and several scenes are filmed in documentarian fashion. The entire production however, is sleek and very quick. The use of music bears mentioning as well: Most Martin Scorcese films have an amazing soundtrack that adds to and enhances the scene. Being a child of the MTV age, I'm a sucker for good uses of music in films and Scorcese is a master. Scorcese doesn't just utilize the soundtrack, he makes it part of the storytelling - by the music, we chronologically know what time period we are witnessing, since one cannot rely on other factors, such as fashion alone. One of my favorite scenes in film which effectively involves music is actually from Casino - the very intense scene when the relationship between DeNiro, Stone and Pesci come to a head in the climax of the film. The pounding music cut throughout this scene is a cover of "Satisfaction" by Devo and the result is absolutely brilliant.

Being a complete film geek, I generally don't go to films that feature certain stars, I go to films by certain directors and Scorcese is one of them. While this was probably the tenth time I'd seen this film there were more things I noticed, and I'm sure I'll notice more upon my eleventh viewing. The man is a complete genius, and a gift to film - my suggestion is to watch some of his films, then check out his unbelievable series, "A Personal Journey with Martin Scorcese Through American Movies" which was done the same year as Casino. The series is essentially a primer on the history of film, sectioned off by film genres. You not only will experience his amazing intellect and massive knowledge of film history, but his incredible humility as well.

--Shelly

Casino is by far my favourite film. I enjoyed good fellas, thought Raging Bull was great and enjoyed Taxi driver but this is a cut above the rest imo

I have seen this film to many times to count and i am yet to become even remotely sick of it. The acting is flawless, story flows at a great pace for the full all but 3 hours, great narration and a great soundtrack

Pesci and De Niro play their parts so well as does Stone. When watching this film I started to wonder what PEsci is really like in real life. Is he a crazed man like he so often plays? After seeing Casino you are likely to wonder, he is that good

I also think the characters in Casino are far more believable then those in good fellas.

Must see for any gangster film fan

As a lifelong gambler who has crossed paths with a few fringe types portrayed in the film, I'm well aware of the story, the culture, and the ambiance of the Tangiers, the fictional casino placed in the control of Sam "Ace" Rothstein (Robert Deniro). Rothstein is not a mob member, but a "moneymaker" for them because he's the nation's best sports handicapper. It was refreshing for a movie to finally show that not all gamblers are stupid, but instead one of those who takes advantage of the many who are.

Rothstein's partner in crime is Nicky Santoro (Joe Pesci), who is far less convincing as a mobster than he would seem to like to believe. Sharon Stone plays the psychotic Ginger, a once-in-a-lifetime role in that it was the only time in my life I could bear to watch her on film. The supporting cast is strong, led by James Woods and Don Rickles (excellent in his dramatic capacity), and the movie is generally well-acted.

If you are a gambler or know the "wiseguy" culture, the movie doesn't have to be explained, while if you aren't, you'll feel like you've stumbled upon the secret meeting place of the mafia and made privy to what is said, without anyone knowing you were there. This film is based on the true story of what happened when the mob tried to put its men in suits and have them heading a casino, and why it has never been tried since. The homage paid to the incestuous nature of Nevada politics was an excellent touch.

Most of us wouldn't like a guy like Sam Rothstein, nor would we like to be him, but if we go to Vegas for a weekend and stay at a casino/hotel, we'll have a better experience if his watchful eye is ensuring that our stay is a pleasant one. The film's nod to how Vegas has been sanitized since those days is also accurate, and reflects sadness at a lost era, where the baby (the "old school" types who made Vegas great) was thrown out with the bathwater (the organized crime influences).

If you haven't seen Casino yet, stop whatever it is you're doing, rush to the nearest video store, rent it, and watch it. Along with Mean Streets Casino is probably Scorsese's most underrated and unheralded picture. I would also venture to say that this is probably his most ambitious film. The film deals with a particular time period and a particular atmosphere and accomplishes an overwhelming achievement by creating and accurately portraying both. The art direction is splendid, most likely the best of any film Scorsese has ever done. The acting is superb. I never thought Pesci would be able to top his dynamic performance in Raging Bull until I saw Casino. Every time I watch this picture I fall in love with it all over again. This is the most honest depiction of Las Vegas, especially of the time period it was portrayed in. Scorsese's direction is flawless. Perhaps it is because I watch alot of Scorsese and Kubrick films, but I am becoming less satisfied with plot driven films and more enamored by films that possess the freedom that typical stories just don't seem to hold. Sharon Stone gives the best performance of her career, and as far as the editing is concerned, well if you believe like Kubrick and Pudovkin that a film is not shot, but built who better to have on your team than long time cohort, collaborator, and editor Thelma Schoonmaker. Ultimately, the genius of Scorsese is not just in the mastery of the medium, but in the understanding and appreciation for the necessity of great collaborators on all levels that Scorsese has consistently utilized throughout his career. Casino exemplifies not only the best of a Scorsese film, but transcends it. This film is truly a gem.

While re-watching "Casino" just now I kept thinking of Spielberg's words re: Kubrick. "Just try to stop watching one of Stanley's movies when you've already started," he said. "It's impossible".

Perhaps, with Kubrick's passing, Scorsese became the greatest filmmaker on the planet. "Casino" is just an unbridled jolt of cinema, a three hour movie that feels like an hour and a half, a breakneck pace that still allows for rare depth in its performances and characterisations. It's the best performance Sharon Stone ever put in; after the ridiculous "Basic Instinct" and "Sliver", they could have written her off if not for this. Her character's arc is tremendous.

More than anything, "Casino" is a showcase of what Pauline Kael called "film sense", that implacable quality that all great directors have. Like Spielberg and Kubrick, Scorsese has a gift for knowing exactly what shot should follow which, is an absolute master of camera movements, angles, framing such that the movie streaks across the screen like fast-moving water over rocks, never once stalling or slowing down.

It's brilliant, but it's not up with the director's greatest work like "Taxi Driver", "Raging Bull", or "Hugo", which is a truly underrated masterpiece. It's a notch below, but when Scorsese is a notch below his best, he's still streets ahead of everybody else.