Synopsis
Three Decades of Life in the Mafia.
The true story of Henry Hill, a half-Irish, half-Sicilian Brooklyn kid who is adopted by neighbourhood gangsters at an early age and climbs the ranks of a Mafia family under the guidance of Jimmy Conway.
GoodFellas
1990 Directed by Martin Scorsese
Cast
Ray Liotta Robert De Niro Joe Pesci Lorraine Bracco Paul Sorvino Frank Sivero Tony Darrow Mike Starr Frank Vincent Chuck Low Frank DiLeo Henny Youngman Gina Mastrogiacomo Catherine Scorsese Charles Scorsese Suzanne Shepherd Debi Mazar Margo Winkler Welker White Jerry Vale Julie Garfield Christopher Serrone Elaine Kagan Beau Starr Kevin Corrigan Michael Imperioli Robbie Vinton Johnny Williams Daniel P. Conte Show All…
Director
Additional Directing
Producer
Executive Producer
Writers
Original Writer
Casting
Editors
Cinematography
Additional Photography
Production Design
Art Direction
Set Decoration
Special Effects
Stunts
Peter Bucossi Alex Stevens Don Picard Michael Russo Nicholas J. Giangiulio Roy Farfel Phil Neilson Tony Guida Janet Paparazzo Norman Douglass Paul Bucossi
Sound
Skip Lievsay James Sabat Marko Costanzo Frank Kern Philip Stockton Tom Fleischman Frank Graziadei Bruce Pross
Costume Design
Makeup
Hairstyling
Studio
Country
Original Language
Spoken Languages
Alternative Titles
Buenos Muchachos, Sıkı Dostlar, Τα καλά παιδιά, Buenos muchachos, 좋은 친구들, Les Affranchis, Mafiabrødre, 盗亦有道, Maffiabröder, Славные парни, 盜亦有道, Добри момци, GoodFellas – Drei Jahrzehnte in der Mafia, Chłopcy z ferajny, Good Fellas, الأصدقاء الطيبون, الرفاق الصالحون, Добри момчета, Un dels nostres, Mafiáni, Τα Καλά Παιδιά, Uno de los nuestros, Omad poisid, رفقای خوب, Mafiaveljet, Les affranchis, החבר'ה הטובים, Dobri momci, Nagymenők, Quei bravi ragazzi, グッドフェローズ, მაგარი ბიჭები, Geri vyrukai, Os Bons Companheiros, Tudo Bons Rapazes, Băieți buni, Dobri fantje, คนดีเหยียบฟ้า, Славні хлопці, Chiến Hữu, 好家伙, 四海好傢伙
Popular reviews
More-
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"He couldn't have been more than 28 or 29 at the time-"
Cuts to a 46 year old Robert De Niro
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"I'm gonna go get the papers, get the papers." - Jimmy Two Times
"Paulie may have moved slow but it was only because Paulie didn't have to move for anybody." - Henry
"Now go home and get your fucking shine box." - Billy Batts
"Here's a wing!" - Tommy
"Why don't you go fuck yourself, Tommy!" - Spider
"Nice!" - Jimmy
"Fucking great, what nice?" - Tommy"What did you say? Are you being a fucking wise guy with me? Ha? What did I tell you? What did I tell you? What did I tell you? You don't buy anything, you hear me? Don't buy anything!" - Jimmy
"The fuck you're looking at? Come on, make that coffee to go, let's go! The fuck you doing? It's a joke. A joke! Put the fucking pot down. Are you gonna take the coffee?" - Tommy
Wiseguys, the movie.
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That shot of De Niro smoking at the bar with the camera slowly moving towards him while Sunshine Of Your Love is playing, will forever be one of my favourite shots of all time. He is so god damn cool.
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Love when young Henry Hill talks about why he wants to be a gangster and the first thing he mentions is that they get to park in front of fire hydrants without getting in trouble
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100/100
Had to give the "new" Blu-ray (from a 4K scan!) a spin, and it's as impossibly gorgeous as can be, enriching the murky, glorified details and cranking all the exhilaration and eventual paranoia up to 11. Even though I've seen this around 20-30 times at this point, I still get dizzy from all the detail; an entire world built up and thriving through soda pop nostalgia and the eventual nervousness of violence. Scorsese's attuned style commits fully to every aspect of the production, but it is in the strange, banal moments where his genius fully shines. Although it may be glorification in terms of technique, Goodfellas never romanticizes its band of characters or its almost Herculean setting, instead exposing…
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I decided to give Scorcese's film another go and while I still appreciate the skill involved I just cannot get myself to like this film.
The problem is that in a film full of antagonists the audience always loses. This film doesn't make me care for a single character and that completely takes me out of it. It turns me from a spectator into a passerby.
The story arch is fine and it is told with Scorcese's usual skill. Most performances are excellent and engaging, but I just keep coming back to the fact that I need a protagonists I can root for in a story like this. Our supposed hero, the way he's written, is simply not a character…
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