American Gangster

I have a feeling Ridley Scott must be on some kind of steroids, or he's an alien. To be able to have such a work pace and commitment at his age (7 films in the next 2 years(!!!), directing or producing) without lowering his standards of quality? Hats off to him! And there's no need to waste superlatives and repeat what has already been written, just a mention of Josh Brolin. His corrupt cop with his slicked back hair, booming bass and mischief in his eyes is exactly the persona, the expression imprinted on your memory that will come to mind when you think of this mafia epic in another 20 years. His few minutes of screen presence almost overshadows the two leads, his blackmail of Frank Lucas – "...Cause you don't fuckin know me! Do you see that right there? Special Investigations Unit. Special. Get it?" – in its bluntness and commanding delivery, almost made me smile. Just an irresistible son of a bitch par excellence. If Judi Dench got an Oscar for her four-minute snap in Shakespeare in Love, I'd give Josh two! (2008-01-03)

It’s probably true, Ridley Scott, is getting better the older he gets. He’s directing even stronger stories than in the past, but just as visually brilliant, and the actors in them play fantastically – better than ever before. One would expect that at his age he would only enjoy making movies and shoot easygoing films like A Good Year, but that's not the case. Scott is fiercely pursuing success, he’s still as enthusiastic about filmmaking as before, and thanks to this spirit, he was able to make a thrilling and intense film like American Gangster. Fantastic in terms of acting (Denzel Washington is magnificent), visually brilliant (cinematography, editing) and in terms of the production design and complex depiction of the 1970s in the American metropolis, it is hard to beat. It’s not a better film than Goodfellas (slower pace), but in the current times of garbage in the sewage, it is a clean, winding and proud bandage on the cinematography of commercial Hollywood. After the second and third screening, one of the best gangster movies ever. Better, more compact and with a bigger heart than Goodfellas. Josh Brolin is awesome and so is Washington. (2008-02-03)

While most famous directors in this age are making films solely for their own entertainment, Ridley Scott comes up with a work of such incredible awareness and craft that it’s essentially unbelievable. Two and a half hours of the essence of scorching filmmaking that will sweep you away with its unique ode to the time period, perfectly written and superbly acted parts, and, last but not least, the naturalistic violence that a proper gangster cannot do without. Scott extracts the essentials from Scorsese, De Palma, and Mann, but remains incredibly his own, i.e., a self-assured filmmaker with a unique authorial imprint that will be indelibly etched in the viewer's mind forever. There is no point in sparing superlatives here. Believe me, they’ll get Oscars for editing, cinematography, and directing! Edit: The absence (albeit!) of nominations in these categories is the American Film Academy’s greatest crime since the beginning of the new century! Shove the Oscars up your ass! (2007-11-02)

A Vietnamese gangster, a.k.a. a bit of a different kick in the rear to the way America was headed after the WWII, when you could swim in banknotes, but with more or less dirty hands, of course. Fantastically brisk, almost in the style of Scorsese’s best, skilfully put together around the informational and motivational parallelisms between the characters, and shot with a certain text-book aloofness that lets you not only appreciate the story of the protagonist, but also the general narrative and timeless diary of an era, and the links to the social or ideological components. But at the same time, non-stop fun as every proper cop movie. Very well spent three hours. 90% (2020-04-19)

Another contribution to the family of top-notch mafia flicks. The first half is a little protracted and boring, but the second half makes up for it. Denzel Washington steals the show, forcing Russell Crowe into the sidekick role. The new Scorsese (The Departed) was more superficial, but stronger in details and with sharper edges. Scott is slower and less flashy, but also more harmonic and easy to follow. The kings of the genres for me are still Coppola (The Godfather) De Palma (Scarface) and old Scorsese (Goodfellas). (2007-12-20)