DVD FOR WISEGUYS

Godfather Collection Marlon Brando - Rebert DeNiro - Al Pacino A Fantastic collection a must have in any household for those with a liking for the Mafia/Gangster movie genre. Use the link to go to the Godfather Collection, a page with a review, a list of Godfather quotes from the movie, and also a list of Godfather facts and trivia it`s a nice list of facts pertaining to the making of the movies.

Taxi Driver Robert DeNiro - Harvey Keitel Man, the 70s were chock full o' excellent films. From "MASH" to "One Flew Over the Cuckoo's Nest," "Network," "Nashville," "Days of Heaven" and especially "Taxi Driver," the 1976 Martin Scorsese-directed grungy, street-level study of alienation. Robert De Niro, memorable as the young Don Corleone in the second "Godfather" movie, brings us into the closing decades of the 20th century as Travis Bickle, the obscure and troubled cabbie. This remains one of his signature portrayals. Primarily a character study with only a bare-bones plot, "Taxi Driver" reveals Bickle, whose experiences in Vietnam have left him a shell, a soft-spoken insomniac with a never-ending monologue about the sordid things he encounters while prowling the mean streets of New York. He drives his cab through rain-washed streets and kills time in porno theaters, cut off from the rest of humanity for reasons even he can't fully comprehend. Eventually, he meets and attempts to woo two women who will change his life: Jodie Foster as a teenaged prostitute, and Cybill Shepherd as a dedicated campaign worker. Unfortunately, Bickle's inability to articulate his torment and his mental problems inevitably lead him down an increasingly shadowy path. The film's climactic confrontation (between De Niro and Harvey Keitel as a pimp) scorches and burns but fails to provide a catharsis for De Niro's character (as it would in a lesser film), and its enigmatic ending remains much debated. This is a dangerous film, seemingly as lethargic as Bickle's speech but, like the character himself, capable of erupting in violence. John Hinkley would later use this film's political assassination plot as inspiration in his own pursuit of Jodie Foster; it's difficult to view the film without that association. But this is a must-see, must-own film for serious buffs, DeNiro and/or Scorsese fans. Brilliant comedian/filmmaker Albert Brooks has an amusingly neurotic role as one of Shepherd's colleagues. The always excellent Peter Boyle also stars. Reviewer: Joel Bryan (see more about me) from Athens, Georgia United States

American History X Edward Norton - Edward Furlong Perhaps the highest compliment you can pay to Edward Norton is that his Oscar-nominated performance in American History X nearly convinces you that there is a shred of logic in the tenets of white supremacy. If that statement doesn't horrify you, it should; Norton is so fully immersed in his role as a neo-Nazi skinhead that his character's eloquent defense of racism is disturbingly persuasive--at least on the surface. Looking lean and mean with a swastika tattoo and a mind full of hate, Derek Vinyard (Norton) has inherited racism from his father, and that learning has been intensified through his service to Cameron (Stacy Keach), a grown-up thug playing tyrant and teacher to a growing band of disenfranchised teens from Venice Beach, California, all hungry for an ideology that fuels their brooding alienation. The film's basic message--that hate is learned and can be unlearned--is expressed through Derek's kid brother, Danny (Edward Furlong), whose sibling hero-worship increases after Derek is imprisoned (or, in Danny's mind, martyred) for the killing of two black men. Lacking Derek's gift of rebel rhetoric, Danny is easily swayed into the violent, hateful lifestyle that Derek disowns during his thoughtful time in prison. Once released, Derek struggles to save his brother from a violent fate, and American History X partially suffers from a mix of intense emotions, awkward sentiment, and predictably inevitable plotting. And yet British director Tony Kaye (who would later protest against Norton's creative intervention during post-production) manages to juggle these qualities--and a compelling clash of visual styles--to considerable effect. No matter how strained their collaboration may have been, both Kaye and Norton can be proud to have created a film that addresses the issue of racism with dramatically forceful impact. Jeff Shannon

Heat - DVD Al Pacino - Robert DeNiro Reviewer: Michael J. Chrush from Auburn, WA United States In 1989 television had a popular series of Cops and Robbers entitled L.A. TAKEDOWN which was the inspiration for Michael Mann's epic 1995 film HEAT. L.A. Cop Vincent Hanna (Pacino) traces a series of thefts and murder cases lead by mastermind Neil Macaulay (DeNiro) and his crew. The trouble is their talents are just as equal. Makes perfect sense as the acting styles portrayed by Pacino and DeNiro together and all other films in the past are also unmatched in excellence. Seeing them together on screen for the first time in many years is as electrifying as seeing them years ago whether it was THE GODFATHERS, THE UNTOUCHABLES, you name it! I've never been much of a fan of Mafia Gangster movies which I've seen Pacino and DeNiro in from the past, but this film is definitely the highlight of their careers! What also makes the story work so well is it is realistic. Pacino is nearly estranged from his wife, a third marriage, as his duties keep him away from family matters. His wife Justine (Diane Venora) frustrated tries to resolve, but attempts are unsuccessful. As Neil Macaulay, DeNiro gives us a very different villain. He is not a Mafia Gangster in the Al Capone style. He is not a villain portrayed from Dirty Harry or Lethal Weapon films. He is simply an ordinary man with assignments to do. Unfortunately the assignments get him into trouble every step of the way. He has only two choices - withdraw or be killed - all on the duty and on one job. He later meets an attractive young library worker (Amy Brenneman), and lies to her that he's a salesman. When she later discovers his true identity, the heat is coming around the corner again. What choices does he have? Dump her or tell her the truth that he can't see her ever again. You can actually feel the intense emotions which both Pacino and DeNiro go through together. Thus HEAT provides something very different. The audience comes to terms and understands the villains of the story. As such, we find ourselves not wanting to see them killed off. Several critics have complained of overlength, which is true as the film is a little long. The overlength is good in this case, as it better explains the events as they unfold. HEAT is a more than an action film. It's about relations, about friendship, about trust and loyalty, about treachery, about revenge, about commitments, and about reality. Very memorable performances as well from Val Kilmer, Tom Sizemore, and Danny Trejo as DeNiro's henchman. With them the same situations apply. They, in a sense, are simply men on duty, when things go amiss, what choices do they have then to kill or be killed? It is demonstrated very cleverly when one of DeNiro's crew jumps the gun and kills a cop, causing the whole heist to go awry. One more problem for DeNiro to deal with - to not be snitched. Here is a real curiosity, Tom Sizemore plays a character named Michael, and my name is Michael. Plus Tom Sizemore and I both share the same Birthday - September 29! Unforgettable classic classic classic film....BUY IT! DVD disappointingly doesn't contain much extras though, except all the trailers. Would have loved a commentary. Still an awesome movie though. Actions films just don't get any better than this! Reviewer: Michael J. Chrush from Auburn, WA United States

The Deer Hunter - DVD Robert DeNiro - Chris Walken - Meryl Streep As a young film enthusiast, it's always unnerving to watch films and be limited to the full effect it had on the audience because it was made before your time and in a much different era. "The Deer Hunter" was no exception. But I love it regardless of that annoyance. "The Deer Hunter," next to "Apocalypse Now," is by far the best Vietnam movie ever. There's both an epic quality to this film as well as an intimacy about it. It looks at the mental, emotional, and physical toll the war had on American soldiers unlike any other film and it shows what it did to close friends and communities. The major sequence in the beginning is the wedding sequence. Yes, it's lengthy, but that sequence is this film's heart. It wouldn't be 'The Deer Hunter' without it. All major characters are introduced as well as their relationship with one another. Michael Vronsky (Robert De Niro), is the leader of his pack of four brother-like friends. Michael, Steve(John Savage), and Nick (Chris Walken), are all going to to Vietnam, while Stan(John Cazale) is left in Pennsylvania with Axel(Chick Aspegren. So the wedding sequence is both a celebration of Steve's wedding as well as a going away party for Steve, Mike and Nick. In the middle of all this, there's Linda(Meryl Streep)who's Nick's fiancee AND the object of Michael's affections. In Vietnam, Steve, Nick and Mike are captured by the Viet Cong and are forced to engage in endless games of Russian Roulette and with the efforts of Mike, they all escape but at a cost. Steve and Mike return home while Nick is left in Saigon. Michael is reunited with Linda, but is isolated and alienated from his surroundings.They comfort each other because she is also mourning Nick's absence as a loss. He attempts to go back to his deer hunting ways, but can't bring himself to shoot a deer anymore because he now knows first-hand what it feels like to be hunted. With a visit to a Veteran's hospital, Steve, now a maimed, wheel-chair ridden man discloses to Mike about the money he has recieved from an annonymous sender from Siagon. Mike quickly figures out who it is and rapidly departs to Saigon in search for Nick. He finds Nick reliving his Russian Roulette ordeal by gambling with his own life. Mike shows up and desperately tries to get Nick to come back to Pennsylvania and to Linda.The rest I'll leave to those wanting to buy this movie. "The Deer Hunter" is an emotionally charged film. It's a gem! It brilliantly shows ordinary men who led simple lives going into the war and emerging forever scarred and forever changed by their experiences. The Russian Roulette scenes are the most powerful and heart-wrenching. You immediately feel the tension and fear of who will live and who will die, much like the overall reaction during the Vietnam war. You'll never forget the looks on De Niro's, Savage's, and Walken's faces in those scenes. They're a work of art created by rare emotional intensity. All three men give the performances of their careers. Meryl Streep gives a wonderful perfomance as well. The chemistry between her and De Niro is vivid and captivating. Great cinematography and wonderful contrasts between peace and chaos; Pennsylvania and Vietnam. It's a film about friendship and courage and how it's put to the test. It's one of the best American films. Period. You'll never forget it. As Mike said, "This ain't something else. This is this!" - Reviewer: KJ from St.Louis,MO

Boss Of Bosses - DVD Chazz Palminteri Grant it 'Gotti' was a little wrong with the size of Paul Castellano but still - Chazz Palminteri offers the nice view of Paul Castellano as the loveable Mafia boss who's not a real fighter but a 'lover' - by doing this like in every book written about a famous person ... the key person is always made into a hero. Same with the HBO movie 'Gotti' which was based on Jerry Capici's co-authored book "GOTTI: Rise and Fall" and then there is "Witness to the Mob" which is the HBO version of Salvatore Gravano's "Underboss." In fact 'Boss of Bosses' was based on the book written by the two FBI agents who helped 'bug' Castellano's Todht Hill mansion. And in the book these two agents come to enjoy his pressence (this happened right when the FBI in the movie arrested him and their conversation in the car) right before he got murdered afront of Sparks Steak House in Manhatten. In the movie this scene was shot in the agents' car but according to the book - the scene actually took place in the back of Castellano's favorite deli - where they were eating some deli and whatnot. The other problem was how they broke into Castellano's house - they didn't show how they got the information of where to put what - and in reality they had an agent ask to use their phone (which they gladly gave the okay too) and then his simple instructions other than too make an call was to remember everything in the house. They also didn't jump over a wall - this would've meant that the alarms which I believe in the book said would go off in 2 minutes - I think he had motion sensors, so in reality they had to basically go over the roof and then into one of the windows -so they didn't just go through the front door. That would've game them away right? Also when Carlo Gambino died - he didn't die in this big mansion - he died watching a Yankees game in his very modest house on Long Island. So that was wrong ... in fact from the picture I got from Gravano's book that - Neil Dellacroce was the one that died in the big mansion. And when they showed the hit of Castellano - Gotti was in the car with Gravano not some overweight man! Last time I checked Gravano wasn't that overweight! So these 3 stars are just for Palminteri's performance as the loveable Big Paulie ... keep up the good work. - Reviewer: Jennifer Howard from Kalispell, MT USA

The Last Don 11 - DVD Joe Mantagna - Danny Aiello - Kirsty Alley I gave Part I of this miniseries two stars, and Part II isn't that much worse; maybe half as good. They had a great chance at the end of Part I which they didn't cash in on. Joe Mantagna's daughter was all set up to take over everything and become THE FIRST DONNA. That's what I hoped would happen in Part II. No such luck. The daughter becomes a "straight" lawyer who learns to live with the idea that her brother is an assassin. It's her brother who becomes the "last don," but there's very little in the story to suggest why. He's a killer but not particularly ruthless. He's a VERY slow thinker (or else an actor who needs a lot of time to figure out how to move his facial muscles). I wondered about how they could feature Mantagna in Part II when he was killed off in Part I. This turned out to be, for me, the greatest mystery in the miniseries! But they solved it in a humdrum manner--Mantagna comes back in "dream sequences"! Hot ziggedy, what a conception! If you're looking to buy a DVD to watch this miniseries, here's a tip for you. Get the first one. It's about three times as long (running time) as the second one. And since it's twice as good, you'll get your two-star's money worth on THE LAST DON, PART I. Of course, if after you see it you disagree with everything I said about that movie in my review of it, then go ahead and get PART II. Now, isn't that an offer you can't refuse? - Reviewer: Anthony Damato from Holland, MI USA

Donnie Brasco Al Pacino - Johnny Depp Based on a memoir by former undercover cop Joe Pistone (whose daring and unprecedented infiltration of the New York Mob scene earned him a place in the federal witness protection program), Donnie Brasco is like a de- romanticized, de-mythologized version of The Godfather. It offers an uncommonly detailed, privileged glimpse inside the world of organized crime from the perspective of the little guys at the bottom of Mafia hierarchy rather than from the kingpins at the top. Donnie Brasco is not only one of the great modern-day gangster movies to put in the company of The Godfather films and GoodFellas, but it is also one of the great undercover police movies--arguably surpassing Serpico and Prince of the City in richness of character, detail, and moral complexity. Donnie (Johnny Depp, a splendid actor) is practically adopted by Lefty Ruggiero (Al Pacino), a gregarious, low-level "made" man who grows to love his young protégé like a son. (Pacino really sinks into this guy's skin and polyester slacks, and creates his freshest, most fully realized character since his 1970s heyday.) As Donnie acclimates himself to Lefty's world, he distances himself from his wife (a terrific Anne Heche) and family for their own protection. Almost imperceptibly his sense of identity slips away from him. Questioning his own confused loyalties, unable to trust anybody else because he himself is an imposter, Donnie loses his way in a murky and treacherous no-man's land. The film is directed by Mike Newell, who also headed up Four Weddings and a Funeral and the gritty, true crime melodrama Dance with a Stranger. Jim Emerson .

Mean Streets Robert DeNiro - Harvey Keitel After Martin Scorsese went to Hollywood in 1972 to direct the low-budget Boxcar Bertha for B-movie mogul Roger Corman, the young director showed the film to maverick director John Cassavetes and got an instant earful of urgent advice. "It's crap," said Cassavetes in no uncertain terms, "now go out and make something that comes from your heart." Scorsese took the advice and focused his energy on Mean Streets, a riveting contemporary film about low-life gangsters in New York's Little Italy that critic Pauline Kael would later call "a true original, and a triumph of personal filmmaking." Starring Robert De Niro and Harvey Keitel in roles that announced their talent to the world, it set the stage for Scorsese's emergence as one of the greatest American filmmakers. Introducing themes and character types that Scorsese would return to in Taxi Driver, GoodFellas, Casino, and other films, the loosely structured story is drawn directly from Scorsese's background in the Italian neighborhoods of New York, and it seethes with the raw vitality of a filmmaker who has found his creative groove. As the irresponsible and reckless Johnny Boy, De Niro offers striking contrast to Keitel's Charlie, who struggles to reconcile gang life with Catholic guilt. More of an episodic portrait than a plot-driven crime story, Mean Streets remains one of Scorsese's most direct and fascinating films--a masterful calling card for a director whose greatness was clearly apparent from that point forward. Jeff Shannon .

Scarface Al Pacino - Michelle Pfeiffer - Mary Elizabeth Mastrantonio This sprawling epic of bloodshed and excess, Brian De Palma's update of the classic 1932 crime drama by Howard Hawks, sparked controversy over its outrageous violence when released in 1983. Scarface is a wretched, fascinating car wreck of a movie, starring Al Pacino as a Cuban refugee who rises to the top of Miami's cocaine-driven underworld, only to fall hard into his own deadly trap of addiction and inevitable assassination. Scripted by Oliver Stone and running nearly three hours, it's the kind of film that can simultaneously disgust and amaze you (critic Pauline Kael wrote "this may be the only action picture that turns into an allegory of impotence"), with vivid supporting roles for Steven Bauer, Michelle Pfeiffer, Mary Elizabeth Mastrantonio, and Robert Loggia. Universal's special edition digital video disc includes a documentary about the making of the film that features numerous interviews and several deleted scenes. Jeff Shannon

Oceans Eleven George Clooney - Brad Pitt Ocean's Eleven improves on 1960's Rat Pack original with supernova casting, a slickly updated plot, and Steven Soderbergh's graceful touch behind the camera. Soderbergh reportedly relished the opportunity "to make a movie that has no desire except to give pleasure from beginning to end," and he succeeds on those terms, blessed by the casting of George Clooney as Danny Ocean, the title role originated by Frank Sinatra. Fresh out of jail, Ocean masterminds a plot to steal $163 million from the seemingly impervious vault of Las Vegas's Bellagio casino, not just for the money but to win his ex-wife (Julia Roberts) back from the casino's ruthless owner (Andy Garcia). Soderbergh doesn't scrimp on the caper's comically intricate strategy, but he finds greater joy in assembling a stellar team (including Brad Pitt, Matt Damon, Don Cheadle, and Carl Reiner) and indulging their strengths as actors. The result is a film that's as smooth as a silk suit and just as stylish. Jeff Shannon

Roard To Perdition Tom Hanks - Paul Newman - Jude Law Beautiful, Sam Mendes' "Road to Perdition" is for sure the most incredible motion picture of the year. Wonderfully directed by the acclaimed Sam Mendes (Academy Award Winner-Best Director-American Beauty). Don't let that scare you though! This film has no sexual nature to it at all. The R rating is due to pervasive disturbing violent content, and profanity is scarce. Tom Hanks gives the opposite performance than usual, as a killer and bankrobber. Jude Law and Paul Newman gave exceptional performances as well. The feature length was about 2 hours long, and certainly was not an action-packed, special effects thriller, rather a slower moving, yet still very interesting piece of art. Tom Hanks, who usually takes on very emotional characters, gave a rather unemotional performance, but there was a very subtle hint of the normal Hanks. As my closing comment, every aspect of this movie was perfect, and I can't wait until Feb. 25 to purchase the dvd. Reviewer: Jackson Brown from San Diego, CA USA

Carlito`s Way Al Pacino - Sean Penn - Penelope Ann Miller Al Pacino cuts a noble figure in this very enjoyable drama by director Brian De Palma (Scarface), based on a pair of books by Edwin Torres. Pacino plays a Puerto Rican ex-con trying hard to go straight, but his loyalty to his lowlife attorney (a virtually unrecognizable Sean Penn) and enemies on the street make that choice difficult. Penelope Ann Miller plays, somewhat unlikely, a stripper who has a romance with Pacino's character. The film finds De Palma tempering his more outlandish moves (think of Body Double or Snake Eyes) just as he did with the popular Untouchables and Mission: Impossible. But while Carlito's Way was not commercially successful and never rises to the level of greatness, it is a genuinely compelling movie graced with a fine performance by Pacino and a surprising one from Penn. The DVD release has a widescreen presentation, closed captioning, Dolby sound, optional French soundtrack, and optional Spanish subtitles. Tom Keogh

The Usual Suspects Kevin Spacey - Gabriel Byrne - Stephen Baldwin Ever since this convoluted thriller dazzled audiences and critics in 1995 and won an Oscar for Christopher McQuarrie's twisting screenplay, The Usual Suspects has continued to divide movie lovers into opposite camps. While a lot of people take great pleasure from the movie's now-famous central mystery (namely, "Who is Keyser Söze?"), others aren't so easily impressed by a movie that's too enamored of its own cleverness to make much sense. After all, what are we to make of a final scene that renders the entire movie obsolete? Half the fun of The Usual Suspects is the debate it provokes and the sheer pleasure of watching its dynamic cast in action, led (or should we say, misled) by Oscar winner Kevin Spacey as the club-footed con man who recounts the saga of enigmatic Hungarian mobster Keyser Söze. Spacey's in a band of thieves that includes Gabriel Byrne, Stephen Baldwin, Kevin Pollak, and Benicio Del Toro, all gathered in a plot to steal a large shipment of cocaine. The story is told in flashback as a twisted plot being described by Spacey's character to an investigating detective (Chazz Palmintieri), and The Usual Suspects is enjoyable for the way it keeps the viewer guessing right up to its surprise ending. Whether that ending will enhance or extinguish the pleasure is up to each viewer to decide. Even if it ultimately makes little or no sense at all, this is a funny and fiendish thriller, guaranteed to entertain even its vocal detractors.Jeff Shannon

Casino Robert DeNiro - Joe Pesci - Sharon Stone Director Martin Scorsese reunites with members of his GoodFellas gang (writer Nicholas Pileggi; actors Robert De Niro, Joe Pesci, and Frank Vincent) for a three-hour epic about the rise and fall of mobster Sam "Ace" Rothstein (De Niro), a character based on real-life gangster Frank "Lefty" Rosenthal. (It's modeled after on Wiseguy and GoodFellas and Pileggi's true crime book Casino: Love and Honor in Las Vegas.) Through Rothstein, the picture tells the story of how the Mafia seized, and finally lost control of, Las Vegas gambling. The first hour plays like a fascinating documentary, intricately detailing the inner workings of Vegas casinos. Sharon Stone is the stand out among the actors; she nabbed an Oscar nomination for her role as the voracious Ginger, the glitzy call girl who becomes Rothstein's wife. The film is not as fast paced or gripping as Scorsese's earlier gangster pictures (Mean Streets and GoodFellas), but it's still absorbing. And, hey--it's Scorsese! (Additional note: the digital video disc has a "layer switch," allowing you to watch the entire film without interruption.) Jim Emerson

Goodfellas Robert DeNiro - Ray Liotta - Lorraine Bracco This is simply a great mob movie. Based upon the best selling book, "Wiseguy", by Nicholas Pileggi, it traces the rise and fall of "gansta" wannabe turned government informant, Henry Hill. Skillfully directed by Martin Scorsese, this film with its all star cast, megawatt performances, and period music soundtrack packs quite a wallop to the senses. Named 1990's best film by the Los Angeles, New York, and National Society of Film Critics, it garnered six Academy Award nominations and earned Joe Pesci an Academy Award for Best Supporting Actor. In the 1950s, a preteen Henry Hill (Christopher Serrone) began his career as a "gansta" wannabe on the mean streets of East New York, where a small Italian American community thrived. Working with Paul Cicero's (Paul Sorvino's) crew, he worked his way up, doing the penny ante, gofer stuff, until he began more heavy duty involvement. As a young man, Henry Hill (Ray Liotta) took to his life in the underworld like a fish takes to water. He married a nice, jewish girl whom he turned into a shrewish girl, as he lived the life he wanted. His wife, Karen (Lorraine Bracco), also became entranced by the perks available to a mobster Henry teamed up with Jimmy "The Gent" Conway (Robert DeNiro) and Tommy DeVito (Joe Pesci). Together they stole, lied, cheated, and killed their way through life, until they got wacked or got caught. When Henry, against the express advice of Paul Cicero, got involved with Jimmy in the 1970s cocaine drug trade, it was the beginning of the end for him and Jimmy. The film skillfully chronicles the rise and fall of Henry Hill from wiseguy to goverment informant in the witness protection program. It is amazing that the actor playing young Henry Hill, Christopher Serrone, resembles Ray Liotta so much, right down to the piercing hazel eyes. He gives a terrific performance as young Henry, expressing all the joie de vivre that young Henry had over being associated with mobsters. Ray Liotta, as the adult Henry Hill, gives an outstanding performance. The viewer senses his absolute love for the life that he lives. He clearly enjoys all the perks of a mobster, his only regret being that he could never be a "made" guy, because he was not fully Italian, as his mother was Sicilian but his father was Irish. Robert DeNiro is wonderful as Jimmy Conway, low key yet powerful. Joe Pesci gives an over the top performance as the wild, volatile, and totally crazy Tommy DeVito, an out of control wiseguy who has no redeeming value as a human being. He is a guy who does not think twice about killing someone over something trivial. Paul Sorvino is excellent as the mob boss who is all about the family and plays it the old fashioned way. Lorraine Bracco gives the performance of her life as Karen Hill, a woman besotted by the life of a mobster's wife, until she realizes that girlfriends are an expected part of that life. She is sensational. This is simply a great mob movie. It is a film that the viewer will watch again and again. I, myself , have seen it at least three or four times, and each time is as if it were the first. Vastly entertaining, this film is a worthy addition to one's collection. Reviewer: Lawyeraau from Flushing, NY United States

Fingers Harvey Keitel - Tisa Farrow James Toback is quoted as telling Harvey Keitel in the Beverly Hills Hotel in 1977 that Keitel "was born to do Fingers." Toback was right; Keitel delivers a first-rate performance that is arguably his best ever, alongside his work in Mean Streets and Bad Lieutenant. This story is about mental anguish derived from perfectionism; Keitel tries to please his mobster father and his high-strung(describing his mother at best)pianist mother and fails, causing him to fall deeper and deeper into a brewing vat of psychosis. He can find no love from his parents; to satisfy his hunger for love, he becomes fixated on a call girl named Carol (an excellent performance by Tisa Farrow)who he can never have. The rejection of him by his mother, the death of his father, and the loss of Carol combine to push Keitel's character, Jimmy Angelelli, over the edge. Keitel is the father of method acting; his ability to apply the pain he has suffered in real-life situations to scenes in films strengthens the impact of the story once it is told. It's important to remember that this man was praised by Jack Nicholson, a multiple Oscar Winner, as "the best actor I've [Nicholson] ever worked with." This film bombed at the box office; it only played for a few weeks and prior to VHS proliferation in the mid 80s, only hard-core film buffs would have seen this. The film was a failure primarily because Keitel was never taken seriously by Hollywood as a leading man. Hollywood producers only ever saw the young Italian hood Charlie Cappa from Mean Streets when they saw Keitel. If you like stories about tormented characters, Keitel provides an Oscar-caliber performance. Of course, this clashes with Hollywood's view on Keitel, but let me leave you with the following truism: There is no such thing as meritocracy in acting; connections, not talent, make stars. This is why Keitel's career was dead from the making of Fingers until his comeback in the early 90s with Bugsy, Bad Lieutenant, and Reservoir Dogs. Reviewer: TD from Camp Hill, PA

Made Men James Bulushi -Timothy Dalton - Vanessa Angel James Belushi is a former gangster in the Federal Witness Protection Program, hiding in the small redneck town of Harmony. Skipper, the mysterious mob boss Belushi worked for, discovers his whereabouts and sends four thugs to collect the $12 million Belushi had been stealing from him, and then whack him. Cross and double-cross ensues, as the fast-talking, street-smart Belushi cons his way from one harrowing bind to another. Throw into the mix a crooked redneck sheriff (Timothy Dalton) and the Belushi character's wife with questionable loyalties (Vanessa Angel), and you've got a fast-paced action comedy that keeps you guessing up to the end. The acting is solid, including Jamie Harris (son of Richard) as a British mobster with a knack for torture. One of the least appreciated components of film storytelling is pace, and Made Men has an impeccable knack for pacing. Kudos to director Louis Morneau (Bats) and veteran action film producers Joel Silver and Richard Donner for making this gem, which should have seen the dark light of the theater instead of being shuffled off direct to video. James Belushi deserves mention for a terrific performance, at once serious, convincing, and funny.Jim Gay