A list of Edgar Wright's favorite 1000 Movies per his list on Mubi on July 27th, 2016.
You don't make up for your sins in church. You do it in the streets...
A small-time hood must choose from among love, friendship and the chance to rise within the mob.
This was my first Scorsese joint, and for many years after that knockout viewing on Late-Night TV, it was my personal favorite film of his. It has a reckless, dangerous, and innocent energy that dances through every image, but the eventual tragedy is birthed from the discovery of harsh realities.
It was, and still is, an incredibly sensual work. Every location, from dive bars to pool halls, is lit with the same evocative sense of boyish clumsiness and the furious snap of touchy emotion. Fights and arguments explode without warning or tension. All of a sudden, everyone is punching and kicking, screaming with youthful rage.
By the end, the film is so overwhelming in its singular feistiness that it seems like the world surrounding its characters will collapse. Too bad the only recognition they receive is the sight of drawn curtains in the dead of night.
Happy birthday Marty.
How does Martin Scorsese direct a scene? Beyond the soundtracks, the masculinity, the classic film references, the Catholicism, the violence, the misogyny, and all the what-not critics like to talk about when they don't talk about a movie, what does Scorsese do when he frames a shot?
Charlie sits down after dancing with the stripper, and Michael sits down next to him. Scorsese has an obvious set up between the actors and the camera—they're both staring out toward the camera, Michael sitting slightly in front so he can look back. The scene basically cuts between three shots, one larger exterior shot of both men, and single medium close-ups of each individual. As the two men talk, the shot-reverse shot doesn't…
Everyone has a favorite Scorsese. Goodfellas. Raging Bull. Taxi Driver. Casino. The Departed. The King of Comedy. Those are just a few examples of Scorsese's insanely influential take on cinema. And yet, I feel one is forgotten. Sure, It was arguably as influential as those later masterpieces, but this particular film feels left in the dust.
Mean Streets is that forgotten cinematic gem. This film is like the wild horse that Scorsese hadn't tamed just yet. Crazy, uncontrollable, fascinating. Mean Streets is the ultimate test film for the now master director. But, that doesn't mean it isn't good. Actually, It's my personal favorite of Scorsese's filmography, and I could argue until the end of time that its one of his…
"You don't make up for your sins in church. You do it in the streets. You do it at home. The rest is bullshit and you know it."
Any flaws that this film might have are all excusable. This is one of the early Martin Scorsese films and what a great one! In Mean Streets we see a raw Martin Scorsese and it's very interesting to identify his technical skills and trademarks even in a much more amateur way. And don't get me wrong when I say amateur, this film has a strong direction and it's a pretty good film! It's very interesting to see what this amazing director has improved through all this years.
This was also the beginning…
'You know what the Queen said? If I had balls, I'd be King.'
There's something very special about Martin Scorsese's early works. You as a viewer do not only watch a story to be happening, you become a part of this story. The same is true with Mean Streets. It's not only a story, it's an experience. It's a raw movie, it's crazy, it's uncontrollable. It's far from perfect, but that's Scorsese's intention. He simply wanted to show the world what he's able to do.
The great thing about Mean Streets is, that it makes a lot out of a little. Although the plot seems a bit incoherent, it's always engrossing. The characters seem to be a bit stereotype, but…
Out of all the Martin Scorsese films I've seen so far; this is the only one I didn't like.
the beginning of the legend that is scorsese
la mejor intro en la historia del cine, creo, bah
I kind of have this memory of going to a Scorsese exhibition a couple of weeks ago and telling someone I was going to rewatch something from him when I got home.
This film is regularly listed as one of Scorsese's best. I just didn't see why. The story is practically non-existent. Good performances, but in the end it is just an ok film.
i don't have anything to say besides that bob looked pretty good
Every bit as significant as The Godfather I & II. Mad it took me this long to watch this.
Ultimately too messy and uneven to rank amongst Scorsese's best, but Mean Streets is still a vibrant, pulsing ball of energy, with excellent camerawork and great performances from Keitel and De Niro.
I may be biased in reviewing this film as it's my favorite. I relate to it on so many levels, from the Catholic aspects to the Italian culture.
From the beginning of the film it is obvious the themes of sin, good and bad, and right and wrong are going to be present throughout the film. It is also obvious that Scorsese knows how to direct the actors, the cinematography and everything else perfectly to convey what he's trying to say without blatantly saying it out loud. For example, my favorite metaphor/motif in the film is Charlie(Harvey Keitel) constantly sticking his hand or finger over open flames, testing himself against what he believes is his inevitable destiny, the fires of…
Frank Ocean’s list of his 100 favorite films, as published in “Boys Don’t Cry” on the release of his album,…
inspired by Jack Bower's most recent list, I decided to do an interactive list where you just comment your favorite…