Popular reviews

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  Review by maria ★★★½ 8

  i'm gonna be calling all them dumb bitches who don't like scorsese's films a mook from now on

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  Review by Muriel 5

  1973 is the year martin scorsese fell in love with robert de niro

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  Review by SilentDawn ★★★★★ 7

  96/100

  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.

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  Review by amaya ★★★★ 8

  mean in the streets, catholic repressed gay in the sheets

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  Review by SilentDawn ★★★★★ 2

  96

  (35mm)

  "Honorable men go with honorable men."

  You've never seen the color red until you've seen Mean Streets on celluloid.

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  Review by Peter Labuza ★★★½ 4

  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…

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  Review by manilazic ★★★★★ 4

  Something funny happened to me while watching this film tonight, for the first time and on 35mm. Perhaps it’s a little naive of me and shows how young I am as a film viewer still, but anyway. 

  During the scene when Charlie (Keitel) and Johnny Boy (De Niro) are walking outside early in the morning and getting into a playful fight with bin lids, I thought once again of how the French New Wave influence is all over this film, from the fast cuts to the light existential crisis at its center. As Truffaut and Godard had understood a few years prior, that lively editing is a direct result of and a vehicle for the expression of this existentialism: life…

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  Review by Branson Reese 12

  Watched it again because I love it. Two things jumped out this time:

  1: For how often Scorsese uses violence he really goes out of his way not to romanticize it. This movie especially captures what a fight really truly feels like: sometimes two but usually just one guy who’s a fucking lunatic just going apeshit and basically everybody else is trying to get away from each other.

  2: DeNiro looks like he’s in Oasis lol

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  Review by Jay ★★★ 6

  i think what theyre trying to say is its the people that made the streets mean

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  Review by Josh Lewis ★★★★ 3

  "I guess you could safely say that things haven't gone so well tonight, but I'm tryin' lord, I'm tryin'."

  Sin and punishment. As feverish and anguished a depiction of one's own childhood friendships & city block as has ever been put to film. Keep an eye on this young Marty guy, he's got the juice.

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  Review by kayla ★★★★ 1

  Ugh I am in love with younger Robert De Niro he is my dream man

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  Review by oleff ★★★ 2

  grown ups (2010) by dir. Martin Scorsese