The streets sure were mean!

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

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.

me, running up to martin scorsese: for $1, name a woman

96

(35mm)

"Honorable men go with honorable men."

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

grown ups (2010) by dir. Martin Scorsese

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

Mean Streets is a landmark movie for an assortment of reasons not least because of the usage of rock music on its soundtrack. Co-written by Martin Scorsese and Mardik Martin, and directed by Scorsese, who shot the film with similar rejections of traditional filmmaking conventions comparable to the French New Wave, this is one of the outstanding films from one of the most electrifying and audacious decades of American cinema. 

The performances are all exceptional with Harvey Keitel exceedingly terrific in the role of Charlie Cappa, a pseudo-religious man questioning his belief in the world he has been born into while endeavouring to deliver redemption for his friend Johnny Boy (Robert De Niro). Mean Streets embodies all the characteristics of Scorsese's excellence in their rawest configuration.

Martin Scorsese's Breathless, an unfocused, unwieldy, and undeniably charismatic source of raw kinetic energy straight into the vein of American cinema.

With Mean Streets, Scorsese plants the seeds for his future sprawling crime epics. He even plays extensively with musical pairings, matching and maybe even surpassing those found in his later works. I loved the shot of Keitel hooked in a close-up as he drunkenly stumbles around to 60s pop blaring in the crimson background.

It's also interesting to see his characteristic Catholic guilt take a spotlight in Harvey Keitel's character.

“What’s a mook?” 

“You can’t call me a mook.”

“Hey, what’s a mook?” 

Also, this has one of the best title sequences of all time. 

Blu-ray.

A chaotic movie about young men who grew into adults that are now realizing that their actions have consequences. Charlie, played by Harvey Keitel, tries to get himself in order and be more like his eloquent Uncle. However, with the chaos comes emotion, and his connection to his friend Johnny Boy, played by Robert DeNiro, is too strong to walk away from. Charlie loves the chaos, because of how fun it is, but he's thinking about what possibilities the future holds. Johnny Boy lives for the very moment and doesn't ever think twice or even once about anything. This movie doesn't let up, it's continuously unpredictable. Constant stream of music, strange cuts, and bizarre camera work nails the desired effect of creating a tense explosive environment. Also it's got young David Proval delivering hilarious lines with ease. Check out this early scorsese flick.

Good crime vibes and great ambience

Great vibes movie

Not a Cassavetes film btw

Not bad, eyebrows

scorsese lovesss slurs bruh like my guy please calm down

did anyone else get sort of a gay vibe?

yet another dull, lousy, lazily written Scorsese film. Oh well.

Not the most focused plot wise, but that’s part of what makes Mean Streets great. It’s a rough slice of life. Low budget, loose and raw, Scorcese further establishes what would become his signature trademarks. Character intros, voiceovers, Catholicism, sloppy violence, contemporary music, frenetic editing, De Niro... its all there.

Yo I'm serious, what's a mook?

De Niro and Keitel's chemistry is amazing, and they elevate this movie to another level.

The movie that rightfully put Scorsese on the map. It's great, a little rough around the edges, but filled with a lot of elements (both stylistically and thematically) that Marty would further explore and solidify in his movies going forwards.