Watching casino Casino (1995)

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The pit boss nods at him to go ahead and dole out the losing hand. The atmosphere is blinding and stifling at the same time but, despite the excessive stylization, never glamorized. Every single costume and there are hundreds tells the story of a time and a place.

They know the higher-ups are on their way to swiftly take care of the problem—one of many in the casino on any given day or night. Nicky, for all his murderous bravado, has become another sucker on the gambling floor.

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De Niro tamps down his famous onscreen charisma so that it simmers—almost but not quite boiling over. He simply played himself. Her self-destructive power brings chaos among the order, such as it is. Some of her favorite jobs over the years include: The gears in his head are endlessly cranking away, calculating every outcome.

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Twenty years ago, I thought its characters were monsters in human form. Coked up, probably drunk, Nicky hurls insults and cards at the man, whose expressionless calm under duress is as memorable and telling as any histrionic performance. Glowing backlit halos on Ace, as he manages his crew on the gambling floor. But the crew at Matte World Digital, high achievers, stepped up to the challenge.

For scale, Scorsese filmed on location in the Riviera, but was only allowed to do so in the middle of the night, so as couple disappears from valley view casino to hinder the profitable hour gambling throng. Has any obsessive Scorsese fan ever made a count of all its shots?

Real Vegas police officers, flatly efficient, were cast as police. Overhead spots bounce off the middle of tables in secret storeroom meetings, creating exaggerated shadows on old mob bosses with incredible faces.

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De Niro underplays him like a willful math professor, yet I love his performance—a humanoid in salmon-hued designer suits. Their relationships, based on money, implode in horrific ways, with manipulation and escalating cruelty. Thousands of shots to match the thousands of hired extras, playing synthetic-fabric-clad gamblers on the casino floor.

Love and Honor in Las Vegas, while he was actually writing it—an unusual and daring way to approach such a large scale production. Audiences in may not have been ready to accept the 70s and earlys as period-film material, but the obsessive research, detail and care that went into the hair, makeup, costumes and set design is evident in every shot.

She turns to Nicky for help and it becomes a clash of the gambling titans. The constant camera tom cruise egg roulette and overhead placement the perfect angle for a film that heavily features surveillance as a theme keep a narrative about systems from ever getting dull. This time around he wanted to focus on the bigger picture first, before regaling us with another tale of mob misrule.

His mob ties make that impossible though, and when he goes up against the local power players—yokels in bolo ties and cowboy hats—they laconically set the wheels in motion for his eventual ouster. She writes and edits Wikipedia articles, with a watching casino on women in film and music. Criminals and cops relentlessly watch each other through surveillance lenses and on monitors.

She deserved her Golden Globe watching casino should have won an Academy Award—the only nomination for the film. All of this is portrayed in that dynamic Scorsese fashionwith masterful swish-pan montages that never stop moving, leaving you feeling jittery and enclosed, as if within an actual casino environment.

It was no easy task.

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Don Rickles, who worked the clubs back when the Mafia ran the joint, is a nearly watching casino mob enforcer, and never cracks a joke. The incredible detail of this world—despite its brutal, realistic gore—rewards multiple viewings. The surprise element, still, is Sharon Stone, who devastates as Ginger. They could almost be brothers.

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Can anyone possibly top her deconstructed femme fatale? Scorsese takes the time to show us the machinations behind large-scale larceny, and the vicious penalties enacted against those who try to take from the takers.

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Casino, though, is about career criminals who have reached middle age and are now tackling middle-management problems amid large-scale systematic corruption. Their most dazzling work—in my opinion—is watching casino establishing shot of the fictional Tangiers Casino, where CG neon light reflects off surfaces and casts shadows in the same manner as real-world light.

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Ace is an automaton, good at laying low and always logical to the extreme. Has any American watching casino suffered greater injustices at Oscar time than Martin Scorsese? These watching casino involve punishments doled out with chainsaws and mallets in back rooms, down institutional hallways hidden from the surface glamour of the casino floor.

Scorsese presents this system in the most exciting cinematic way imaginable and then makes us realize, in brutal fashion, that any attempt to try and control this profitable arrangement is absurdly delusional. Experimenting with architectural software to simulate bounce-light refraction, they produced some stunning and groundbreaking shots for the film. It would make for a terrific tragic opera with its myriad of music cues as diverse as Bach, B.

Neither man says a word. And, while I might wish the censors had done their duty this one time, the point is made: