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Crime, Drama, Thriller, Biography
IMDB rating:
Martin Scorsese
Robert De Niro as James 'Jimmy' Conway
Ray Liotta as Henry Hill
Joe Pesci as Tommy DeVito
Lorraine Bracco as Karen Hill
Paul Sorvino as Paul Cicero
Frank Sivero as Frankie Carbone
Tony Darrow as Sonny Bunz
Mike Starr as Frenchy
Frank Vincent as Billy Batts
Chuck Low as Morris 'Morrie' Kessler
Frank DiLeo as Tuddy Cicero
Gina Mastrogiacomo as Janice Rossi
Catherine Scorsese as Tommy's Mother
Storyline: Henry Hill is a small time gangster, who takes part in a robbery with Jimmy Conway and Tommy De Vito, two other gangsters who have set their sights a bit higher. His two partners kill off everyone else involved in the robbery, and slowly start to climb up through the hierarchy of the Mob. Henry, however, is badly affected by his partners success, but will he stoop low enough to bring about the downfall of Jimmy and Tommy?
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A masterpiece exposing misguided loyalties and greed
Scorcese & Pileggi's masterpiece on the life of Henry Hill as a Brooklyn NY mob wise-guy.

As much as the true events of Henry's life have more than likely been dramatised and glamourised to a certain extent, the essence of this film IMO is that it is still a brilliantly damning portrayal of the characters and lifestyle of mobsters.

The sham of the mafiosi is exposed - preaching loyalty, respect & principles - but when it comes down to it they are just two-bit criminals that'll stab each other in the back for money or power over others. Each of them has an inflated sense of self-worth and stature that comes with being a "wiseguy", breeding with it paranoia that others are not giving them the respect they deserve.

An example is De Niro's portrayal of Jimmy Conway. His outward persona is that of a calm and reasonable nature. But really he is a paranoid killer who at the drop of a hat would kill even his closest associates for money. I use associates rather than friends, as their relationships are of tolerance rather than kinship. Distrust, hate and jealousy through the forced smiles.

Interesting that given this, certain people envy their life-style and would have loved to have been a wiseguy. I personally couldn't think of anything worse that being tied for life with having to keep the likes of Tommy company, but whatever rocks your boat. Some people have actually paid to see The Dukes of Hazzard film, so I shouldn't be surprised.
One of the best Gangster movies of all time
Martin Scorsese is brilliant! Goodfellas is one of the best Gangster movies of all time. Each character better than next. Love this movie! It's the good old days when the mob ruled. Liotta and Bracco killed it and Pesci, need I say more....classic Pesci. Scorsese is the only director for a movie like Goodfellas. Unchallenged power, Glamour, De Niro.
The Truth About The Mob
Martin Scorsese explores the life of organized crime with his gritty, kinetic adaptation of Nicolas Pileggi's best-selling Wiseguy in Goodfellas.It stars Robert De Niro,Joe Pesci and Ray Liotta.

This is a true-life account of mobster and FBI informant Henry Hill,who happens to be a small time gangster that takes part in a robbery with Jimmy Conway and Tommy De Vito.His two partners kill off everyone else involved in the robbery, and slowly start to climb up through the hierarchy of the Mob. Henry, however, is badly affected by his partners success and decided to bring about the downfall of his mob partners.

Goodfellas has one great achievement about organized crime and the mob.It portrays the benefits of being part of the mob and at the same time puts guilt upon them and never glamorizes them one bit.Also,it narrates man's constant lust for power and greed.Overall,this is one great crime classic.
There's always one in every crowd
I didn't read more than a few other reviews and they were all 10 stars. I'm going to be the fly in the ointment and give it a 7, which still ain't bad. And it ain't - I mean isn't - bad at all, by any means. Nor, in my book, is it anywhere near great. Not by a long shot. It may be due, largely, although not sure yet, to Joe Pesci's one note characterization (way too typical of him). A little "f" word here and there never hurt nobody but goes just so far. It becomes not so much an aspect of his psychopathology but, with its over emphasis, weakens it, parodying what might be very legitimate. He was insane, and not a joke, but the character becomes jokey. How Ray Liotta did not get acknowledged for a much more realistic portrayal, and get at least a nomination for a part he brought dimensionality to, is a mystery. But, of course, the whole concept of an Academy Award is a mystery in and of itself. I mean, after all - Charlton Heston (in anything)?; Shirley Jones when you have Janet Leigh?; Rita Moreno opposite Judy Garland as well as Fay Bainter and Lotte Lenya?; not to mention the even more outrageous selection of Chakiris vs Clift and Geo. C. Scott?; Grace Kelly vs. Judy Garland????? Now, really! That one is going too far. And so on and forth. Give me Pesci in My Cousin Vinny anytime (not even a nomination). Aside from that - there were moments in the film that were clearly wonderful. Bracco and all the other molls getting their faces and nails done, scanning and re-scanning each of their thoughtless faces; the stop motion a dozen or more times capturing the characters silent, still; De Niro smiling at you with one of his 2 faces barely showing the 2nd face that will soon emerge and become the easy victor; the sense of confusion and then addiction that Liotta captures; the latter part where he describes in repetitive detail, in his drug-addled way, the order of the evening and transporting the pounds of cocaine to another city; dinner table with Mom and the 3 boys while the body in the trunk is writhing. Etc. A story told well enough in all of its pathetic realism. Scorcese is usually very good. It's this film that wasn't.
It's the original, full-length music video. To me, the way Scorsese features the music as a main character truly keeps me coming back year after year. More accurately, it could be seen as the ultimate DJ set. Or visual remix. Taking so many beautiful elements, visually and audibly, and bring all elements together at their most dynamic points. There's a shamanistic quality to that skill. So I can honestly say, I FEEL better, because I use this film in a medicinal way, when I watch it.

Quick note, if you haven't seen GF and haven't seen Casino... WATCH GF First. That's all.
A true classic
This is the gangster film at its finest. Scorsese is on top form as are Pesci and De Niro. Liotta has never bettered the performance he gives here. The film starts as it means to go on - violent, full of profanity, fast paced and very stylish. The story follows Liotta's character from boy to man as he climbs his way up through the ranks of organised crime. We see all the highs and lows of his life and meet a host of very believable and very undesirable characters along the way. It's a film full of memorable scenes whilst remaining much more than the sum of its individual parts at the same time. This is what all movies should be like. It draws you in and won't let you out of its grasp at any point. When it finishes you feel exhausted and exhilarated at the same time. If ever the word 'masterpiece' was meant to be used, it was for this film.
May I differ?
Overrated in 1990, *Goodfellas* has grown even more overrated with the passage of 15 years. It's based on the -- I daresay -- untrustworthy recollections of a half-Irish, half-Sicilian mobster-turned-informant who recently, I am reliably informed, appears as an addled, half-witted guest on "The Howard Stern Show". The narrative arc, if one can accurately term it that, spans 30 years, roughly from 1950 to 1980. This, of course, gives Martin Scorsese every incentive to soak the background with dozens of pop-culture tunes ranging from Bobby Vinton to Derek and the Dominoes. His use of the last 3 lilting minutes of "Layla" as some sort of ironic counterpoint in the extended montage that reveals the corpses of a dozen gruesomely executed mobsters in various places across New York City only underscores his utterly conventional taste in music. One wonders whether Scorsese would've been happier as a Top 40 deejay instead of a filmmaker.

His conventionality -- a surprising development, given his success with such Seventies classics as *Mean Streets* and *Taxi Driver*, both infused with his uniquely individual aesthetic -- extends beyond the soundtrack to the actual movie itself. Lovers of this movie will doubtless be distressed to learn that the various stylistic techniques Scorsese uses here -- whip-pans, sudden freezes that supposedly add ironic punctuation to the narrative, even the use of pop music as commentary on a montage -- all derive from French (yes, I said French) auteurs from the New Wave school of the Sixties and Seventies. These same lovers of this movie would probably also consider Orson Welles to be an overrated old fuddy-duddy, but that doesn't stop Scorsese from pointlessly laying on at least two sequences of long tracking-shots through complicated spatial arrangements without cuts, the device Welles perfected if not wholly invented. (An even less impressive feat for Scorsese, who benefits from the technological advance of the Steadicam. Welles did it with old-fashioned cameras on dollies and hydraulic cranes.) I believe that all these borrowings betray Scorsese's fundamental, perhaps unconscious, lack of confidence in the power of his story, here.

For the screenplay, let it be said at once, is poorly constructed. The narrative focuses on trivial events, like a gofer getting shot in the foot during a card game or Paul Sorvino slicing garlic to atomic thinness, and then presents the world-famous Lufthansa heist through hearsay. The movie's main character, Ray Liotta as Henry Hill, hears a news report about the heist while in the shower. One may reasonably ask why we're in the shower with Henry when we should be in the getaway car with Robert De Niro's Jimmy Conway and his henchmen. This, of course, leads one to reasonably ask why we're not watching a movie about Jimmy Conway instead of Henry Hill, the latter being, more often than not, on the periphery of the movie's main events. Having Liotta narrate the exciting stuff for us in voice-over is no substitute. Indeed, the movie is cripplingly dependent on voice-over narration, perhaps because Mr. Hill's own story, in and of itself, isn't interesting enough to really warrant a honest-to-goodness movie in the first place. As the movie drones on with Liotta's loquacious narrator ceaselessly filling in the narrative gaps, one suspiciously wonders -- for example -- why Hill and Conway are NOT whacked for bumping off "made man" Billy Bats, while Joe Pesci's Tommy DOES get whacked. All three men were involved in the killing, yet only Tommy pays the price. Why? Does Conway's and Hill's Irishness serve as a magical force-field? -- I don't get it. Well, I did say at the beginning of this review that Hill was an untrustworthy storyteller. From the evidence, it appears that Hill was quite conversant with his mob boss's cooking techniques (hence all the time wasted on cooking scenes and shots of gorgeously laid-out family feasts) and far less conversant with the important incidents that are the subject of this film. Note too how inconsistently handled Henry's character is throughout the film: one moment he pistol-whips almost to death a sexual predator who messes with his girlfriend, the next he's aghast when some punk kid gets carelessly killed. Hmm -- smells like self-hagiography to me.

After an overly-edited, chaotic, 30-minute final act in which a sweaty-faced, puffy-eyed Liotta drives around the suburbs, peering up through his windshield at police helicopters, dropping off hot guns, going to the grocery store, zipping back home to make meatballs (AGAIN with the cooking!), and so forth, he gets pinched for good. Under the umbrella of the Witness Protection program, he finally rats out his mob bosses . . . and it occurs to us that this should have been the focus of the film all along, i.e., the FBI's successful eroding of the criminal code using Witness Protection. But Scorsese crams it in during the last five minutes of this 3-hour movie. A little less time in the kitchen and in the shower, and a little more time getting down to business, might have made this movie pretty great.

As it is, the performers give *Goodfellas* undeniable energy, almost mitigating all its flaws. Fans of good New York actors will forgive this movie everything: Liotta, De Niro, Pesci, Sorvino, and Lorraine Bracco do THEIR job, at least. And perhaps this is why the movie is so well-loved. Colorful characters limned by great performances are entertaining. But, in my judgment, the virtues of verisimilitude can't overcome what amounts to a 3-hour-long non-story.

3 stars out of 10.
Simply a masterpiece. Scorsese's last truly great movie (to date).
'Goodfellas' is a masterpiece, pure and simple. While not my favourite Martin Scorsese movie it is a stunning achievement, and one of his very best movies. The film is stunning technically. The consistently fine acting by the large ensemble cast (both known and unknown), the cinematography, editing, dialogue, brilliant use of music, it's all breathtaking. But Scorsese and co-writer Mitch Pileggi never lose lose sight of their main goal - to tell a story. And in that it's really hard to beat this movie. As to the actors De Niro is on top form, Ray Liotta is the best he's ever been, and this is Joe Pesci's definitive performance. Plus you have Lorraine Bracco, Paul Sorvino, Michael Imperioli, and lots of well known faces in small but important roles (Debi Mazar, Samuel L. Jackson, Illeana Douglas, Kevin Corrigan), plus dozens of unfamiliar actors (and non-actors) who are all so good it seems unfair just to single out the "stars". (Also keep an eye out for Vincent Gallo in a few scenes. He has no lines, but looks cool!). 'Goodfellas' is (to date) Scorsese's last Great Movie, and one of the very best films of the 1990s. Absolutely essential viewing for any movie fan, this tremendous film is not to be missed! Highly recommended!
Inside The mob
Meet Henry Hill (Ray Liotta). He grew up in a marginal neighborhood on the Brooklyn - Queens line near JFK Airport. The neighborhood is working class but colonized by the mob. Local boss Paul "Paulie" Cicero (Paul Sorvino) superintends the neighborhood like a feudal lord.

Paul Sevino carries the part of a low level mob boss with grace and dignity persuasively Italian without indulging in stereotypes.

Though not eligible for induction into the ritual laden Italian Mafia, Henry Hill and his occasional co-conspirators Jimmy Conway (Robert De Niro) and Tommy DeVito (Joe Pesci) are allowed to hang onto the fringe of the high life of organized crime.

Joe Pesci indulges more of the stereotypical Italian gangster: ruthless and earthy somewhat lacking in the class Servino brings to that role. Even though Pesci leans on certain stereotypes he manages to make a joke out of them. "Imagine," Tommy Devito frankly observes, "prejudice against Italians in this day and age." But be careful not to laugh too hard with Tommy. He guns down a made Mafioso for indulging in fun at Tommy's expense.

Tommy Devito, Jimmy Conway and Henry Hill may not be formally inducted Mafioso. They're called wise guys or goodfellas. While they're not official member of the Italian mob, they are involved in some of the major mob operations such as truck-jacking and airport heists including both the Air France and Luftansa raid.

There are others at the extreme periphery of the mob including Morris 'Morrie' Kessler (Chuck Low) who furnishes comic relief right up to the point calculating Jimmy Conway decides to rub Kessler out rather than pay Kessler his share of the Luftansa heist.

But money is not the sole object of the wise guys. Heck they blow it all on the track. It's the life.

Declares Henry Hill, "we're movie stars with muscle! Real life Italian - American Ray Liotta plays Henry Hill, the product of s strict Irish father and a saintly Italian mother well. Unlike his running buddy Tommy Devito, Henry has a certain charm he carries in the twinkling of blue eyes. He's one more likely to use persuasion than muscle when that's possible, but he's ready to administer a beating when that's required.

As long as wise guys kick money upstairs to Uncle Paulie, life can be beautiful. There are certain bounds: No Drugs and the penalty is the ultimate one for violating this rule. Will the temptation to make the big money selling drugs bring the high life of the wise guys down?
One the greatest movies ever
Martin Scorsese's Goodfellas is quintessentially one of the greatest movies ever. It is better than The Godfather in my opinion because of its real life approach to mob life. The film follows Henry Hill as he is brought into the mob life at a young age and how it brings him down at the end. The movie is just amazing to watch as it is like watching a documentary on the what is like to be in the mob. Adding to it are the amazing performances put forth by Ray Liotta as Henry,Robert De Niro as his friend Jimmy the Gent who is great in it and Lorraine Bracco who is very good as Henry's wife. But the performance worth mentioning is Joe Pesci's awesome performance as Tommy De Vito. His acting in it is one of the best performances I've ever seen. The film follows a time line from the 1950's to the 1980's and with it accompanies one of the greatest soundtracks ever put together. Scorcese has a knack for putting great soundtracks together and this is one of the greatest he's ever produced. Goodfellas is one of the greatest movies ever and one of Scorsese's all time best.
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