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.
While in my personal opinion, not one of his best, There's no denying that Mean Streets is a landmark film, one that sees the first of Scorsese's and De Niro's collaborations. It sweeps with its kinetic energy and showcases what became Scorsese's iconic artistic flourishes. I deeply admire this film but I cannot seem to bring myself to love it. It's rough around the edges, messy, episodic but there's still so much talent involved and some truly impressive direction that Mean Streets cannot be ignored.
Welcome to Scorsese, a director with one of the best filmographies of all time. He's covered everything from gangster movies, a family movie, historical, psychological thriller, remakes, sequels, and sometimes just all out crazy. This movie marked the beginning of a lot of things: Martin Scorsese's rise to fame, same thing with De Niro, and Scorsese's exploiting of De Niro. It was definitely where some of Scorsese's best movies got some of their traits. The whole grimy atmosphere is very similar to what would be in Taxi Driver. Religious themes are another thing common throughout his body of work and they play an important part here. And of course, one of the biggest staples to Scorsese ever, voice-overs. Though they…
Martin Scorsese: 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.
kind of meandering, but with great cinematography, great performances (especially from a top-billed but still underused DeNiro) and a killer soundtrack
Looking at this retroactively, Scorsese's future success is easy to see through this film. The gritty nature that he perfected in Taxi Driver. The crime filled drama perfected in Goodfellas. The excellent use of music used throughout his repertoire. Excellent compelling performances from his starts (De Niro and Keitel here). While all these touches are evident and work well, he seems to be playing with is style too much and the story gets lost because of it. I'm glad he made this the way he did though, because eventually he was able to apply all of those flourishes while also telling incredible stories.
I felt that this wasn't exactly Scorsese's greatest work. Although I don't believe many would argue with me on that. Still it was great to see a couple of legends in filmmaking at a really young age. DeNiro was terrific as well as Keitel.
Not the best Martin Scorsese picture but still a very good film that has been unfortunately swept under the rug over the years.
The first of the eight Scorsese-De Niro films I am rewatching.
When I first watched this film I didn't give De Niro enough credit for his performance as the reckless Johnny Boy. You feel Keitel's struggle as he helplessly tries to keep his friend on the straight and narrow while also trying to do good by everyone else around him.
I also didn't realise Scorsese's pretty major cameo as well.
There isn't a structured plot and a lot of scenes don't really contribute to the story either but what Scorsese lacks in the overall plot he makes up for in the dialogue. Nobody brings characters alive in quite the way Scorsese does.
Martin Scorsese's break-out film definitely set a standard for his filmography's violence, Italian-American characters, gangsters, camera movements, music incorporation and self-destructive characters. This is the tragic story of Charlie trying to save his friend, Johnny Boy, from his own self-destruction. Charlie's torn between his devout Catholicism and his Mafia ambitions and as he fails to receive redemption in the church, he seeks it through sacrificing himself on Johnny's behalf. This was the wonderful beginning of a wonderful career for Scorsese and Robert De Niro.