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Apart from the detail that he was a heroin dealer, Frank Lucas' career would be an ideal case study for a business school. "American Gangster" tells his success story. Inheriting a crime empire from his famous boss Bumpy Johnson, he cornered the New York drug trade with admirable capitalist strategies. He personally flew to Southeast Asia to buy his product directly from the suppliers, used an ingenious importing scheme to get it into the United States, and sold it at higher purity and lower cost than anyone else was able to. At the end, he was worth more than $150 million, and got a reduced sentence by cutting a deal to expose three-quarters of the NYPD narcotics officers as corrupt. And he always took his mom to church on Sunday.

Lucas is played by Denzel Washington in another one of those performances where he is affable and smooth on the outside, yet ruthless enough to set an enemy on fire. Here's a detail: As the man goes up in flames, Frank shoots him to put him out of his agony. Now that's merciful. His stubborn antagonist in the picture is a police detective named Richie Roberts ( Russell Crowe ), who gets a very bad reputation in the department. How does he do that? By finding $1 million in drug money -- and turning it in. What the hell kind of a thing is that to do, when the usual practice would be to share it with the boys?

There is something inside Roberts that will not bend, not even when his powerful colleague ( Josh Brolin ) threatens him. He vows to bring down Frank Lucas, and he does, although it isn't easy, and his most troubling opposition comes from within the police. Lucas, the student of the late Bumpy, has a simple credo: Treat people right, keep a low profile, adhere to sound business practices and hand out turkeys on Thanksgiving. He can trust the people who work for him because he pays them very well and many of them are his relatives.

In the movie, at least, Lucas is low-key and soft-spoken. No rings on his fingers, no gold around his neck, no spinners on his hubcaps, with a quiet marriage to a sweet wife and a Brooks Brothers image. It takes the authorities the longest time to figure out who he is, because they can't believe an African American could hijack the Harlem drug trade from the Mafia. The Mafia can't believe it, either, but Frank not only pulls it off, but is still alive at the end.

When it was first announced, Ridley Scott's film was inevitably called "The Black Godfather." Not really. For one thing, it tells two parallel stories, not one, and it really has to, because without Roberts, there would be no story to tell, and Lucas might still be in business.

But that doesn't save us from a stock female character who is becoming increasingly tiresome in the movies, the wife ( Carla Gugino ) who wants Roberts to choose between his job and his family. Their obligatory scenes together are recycled from a dozen or a hundred other plots, and although we sympathize with her (will they all be targeted for assassination?), we grow restless during her complaints. Roberts' domestic crisis is not what the movie is about.

It is about an extraordinary entrepreneur whose story was told in a New York magazine article by Mark Jacobson . As adapted into a (somewhat fictionalized) screenplay by Steve Zaillian (" Schindler's List "), Lucas is a loyal driver, bodyguard and coat holder for Bumpy Johnson (who has inspired characters in three other movies, including " The Cotton Club "). He listens carefully to Johnson's advice, cradles him when he is dying, then takes over and realizes the fatal flaw in the Harlem drug business: The goods come in through the Mafia, after having been stepped on all along the way.

So he flies to Thailand, goes upriver for a face to face with the general in charge of drugs, and is rewarded for this seemingly foolhardy risk with an exclusive contract. The drugs will come to the United States inside the coffins of American casualties, which is apparently based on fact. It's all arranged by one of his relatives.

In terms of his visible lifestyle, the story of Frank Lucas might as well be the story of J.C. Penney, except that he hands out turkeys instead of pennies. Everyone in his distribution chain is reasonably happy, because the product is high quality, the price is right, and there's money for everyone. Ironically, an epidemic of overdoses occurs when Lucas' high-grade stuff is treated by junkies as if it's the usual weaker street strength. Then Lucas starts practicing what marketing experts call branding: It becomes known that his "Blue Magic" offers twice the potency at half the price, and other suppliers are forced off the streets by the rules of the marketplace, not turf wars.

This is an engrossing story, told smoothly and well, and Russell Crowe's contribution is enormous (it's not his fault his wife complains). Looking like a care-worn bulldog, his Richie Roberts studies for a law degree, remains inviolate in his ethical standards and just keeps plugging away, building his case.

The film ends not with a " Scarface "-style shootout, but with Frank and Richie sitting down for a long, intelligent conversation, written by Zaillian to show two smart men who both know the score. As I hinted above: less " The Godfather " than " Wall Street ," although for that matter a movie named "American Gangster" could have been made about Kenneth Lay.

Roger Ebert

Roger Ebert was the film critic of the Chicago Sun-Times from 1967 until his death in 2013. In 1975, he won the Pulitzer Prize for distinguished criticism.

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Film credits.

American Gangster (2007)

Rated R for violence, pervasive drug content and language, nudity and sexuality

157 minutes

Chiwetel Ejiofor as Huey Lucas

Josh Brolin as Det. Trupo

Ruby Dee as Frank's mother

Carla Gugino as Laurie Roberts

Armand Assante as Dominic Cattano

Russell Crowe as Richie Roberts

Ted Levine as Toback

Denzel Washington as Frank Lucas

Cuba Gooding Jr. as Nicky Barnes

RZA as Moses Jones

Directed by

• Ridley Scott
• Steven Zaillian

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American Gangster Review

16 Nov 2007

156 minutes

American Gangster

It is interesting (and not coincidental) that Ridley Scott’s latest, American Gangster, is opening in the same month that his third feature, Blade Runner, gets a reissue. There are cosmetic similarities. Both take place in distinctive milieus (Los Angeles 2019; Harlem 1971) dominated by bad fashions. Both involve

a subdued cop on the hunt for a more charismatic villain. But marking the differences in such close proximity is instructive about how Scott’s career has developed. The Scott of The Duellists, Alien and Blade Runner wallowed in atmosphere, mood and backlight (debatably at the expense of story and character), whereas the Scott of American Gangster puts plot ahead of pictorialism, dwells on relationships not cityscapes and gets on with things in almost documentary style. In theory, it should make him a better filmmaker but, while you would never begrudge Scott’s desire to grow or try new things, you can’t help but wish that Gangster would indulge his prodigious visual talents a little more often.

Scott’s first foray into epic crime territory, after the small-scale con of Matchstick Men, is undeniably enjoyable, yet it never really gets to grips with the full potential of the story. The twin yarns of gangster Lucas and cop Roberts are a template for crime thrillers of the past 30 years, but while it boasts performances by two modern greats, it never adds up to a completely satisfying whole.

Part of the problem here is that, from such rich source material, American Gangster doesn’t tell a story. From the get-go, Zaillian’s screenplay gets stuck in a repetitive rut, and very little, be it narrative threads, character arcs or thematic depth, actually develops. Roberts doesn’t do much detecting to get to Lucas; the latter just reveals himself as a kingpin via a fashion faux pas at a boxing match. Scott and Zaillian want to suggest a symmetry between Lucas and Roberts - that both men are outsiders in their own worlds, driven by specific codes of ethics - but struggle to make the comparison compelling. Scott also shortchanges on the true story’s astonishing coda, which would seem ripe for the Hollywood treatment. And worst of all, he can’t actually pin down what the film is about.

Aside from a few new licks - Roberts’ nifty use of a dead perp

to exit an incendiary crime scene; images of scantily clad chicks bagging up drugs, near nude so they can’t stash the dope; Lucas’ ingenious method of transporting the drugs into the US - very little in the movie feels fresh, re-treading scenes, riffs and imagery from the whole history of crime flicks. There’s the minutiae of police drug squad procedure (The French Connection), a police force besieged by cops on the take (the films of Sidney Lumet, especially Serpico) and the gangster as kind family man (The Godfather - Chiwetel Ejiofor as Lucas’ dim brother comes across as a blinged-up Fredo). Even the music sounds second hand (who can hear Across 110th Street and not recall Jackie Brown?), Scott not quite having the affection for tunes of the era to turn up something different.

To his credit, Scott doesn’t OD on the ’70s-ness of Gangster; a throwaway allusion to the new-fangled microwave is about it. Yet all this familiarity doesn’t breed complete contempt. American Gangster’s string of crime movie staples - drive-bys; Mafia meetings (all hail Armand Assante!); cops pinning up pictures of suspects on boards and drinking coffee; wire-wearing snitches - is served up with enough verve to engage. But the film’s strengths unquestionably lie in the double-header of Washington and Crowe. After playing a gladiator, sailor, maths genius and boxer (we’ll skip over A Good Year), it’s good to see Crowe playing something approaching a regular Joe - slightly overweight and struggling to keep his principles when treated as a pariah. That Roberts is the only straight cop in a force full of corruption is a nice role-reversal, and Crowe gives Roberts a gravitas and believability he in all probability didn’t have on the page.

Despite Crowe’s sterling efforts, though, this is Washington’s show. Channelling some of the intensity and aggression he brought to Training Day but tempering it with touches of charm and class, Washington effortlessly stumps up menace, smarts and attitude. In one breathless moment he leaves his brothers in a diner, walks across the street, shoots a rival in the face, and calmly returns to his food. American Gangster is very good at this - little violences, sporadic shootings and ferocious fistfights that end as quickly as they erupt - and Washington delivers it with maximum impact. But you also swallow him as a devoted husband, concerned uncle (his nephew wants to follow his lead into crime) and urbane businessman. There is a fascinating scene in which Lucas berates a rival mobster (Cuba Gooding Jr.) for selling inferior narcotics under the same Blue Magic banner as Lucas’ own heroin: it is surely a sign of the times when a gangster flick features a discussion on the merits of branding.

For a film fuelled by so much testosterone, some of the best moments involve the men being dressed down by women. Lucas’ run in with his proud mother (Ruby Dee) is one of the very few times anyone actually stands up to him. Equally good is Roberts’ courtroom tussle with his ex-wife (Carla Gugino) over custody of their kid, who floors the cop with a terrific character dissection. In some ways, these scenes register stronger than The Obligatory Washington/Crowe Face Off. In a Pacino-De Niro-Heat stylee, the pair have only one scene together - look out for the ways both actors use a coffee cup to subtly delineate who has the upper hand in the conversation - but it doesn’t have the oomph or mythic resonances that the moment requires.

Approaching the edginess that marked Black Hawk Down, Scott splits his style in two; a spare, sparse look for Roberts, mostly grey-grim tones and handheld urgency, and a more colourful, stately approach for Lucas. It’s an apt decision but disheartening. Scott seems to take his visual sense from TV’s The Wire, and there is something disappointing in that unparalleled visual imagination being dulled down to a small-screen aesthetic. Some imaginations are too big to be contained within HBO house style.

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Script Review for Ridley Scott's "American Gangster," with Denzel & Russell

The long-gestating "American Gangster" is presently being directed by Ridley Scott , and it stars Russell Crowe and Denzel Washington . Also, there’s a script review online that you can check out if you like.

Click here to visit LatinoReview.com and if you don’t mind reading reviews of screenplays for movies that probably won’t be out for another 8 or 10 months. (I’ll bring you the link, but you can’t make me read the article!)

Written by Steven Zaillian , "American Gangster" tells the story of a 1970s drug kingpin who made millions by smuggling drugs in the coffins of dead American soldiers. Yikes. (Denzel plays the drug lord; Crowe the cop!)

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“Between the Temples” Is a Songful, Scathing Jewish American Love Story

Most of the founding fathers of the Hollywood studios were Jewish, but very few of the movies they produced depicted Jewish American life. Since then, the most significant films that have done so have been independent productions, whether from decades ago (“The Plot Against Harry,” “Hester Street”) or more recently (“A Serious Man,” “Armageddon Time”). Now there’s a new entry in the field, “Between the Temples,” whose sardonically punning title, though suggesting something of the movie’s bitter comedy, barely hints at its bracing extremes of melancholy, derision, and tenderness. The film is the first high-profile project by Nathan Silver, who has been assiduously at work for the past fifteen years directing distinctive indie films on stressfully tiny budgets, often featuring his mother, Cindy Silver, a nonprofessional actress. His previous work has sometimes brought Jewish customs to the fore; “Soft in the Head” (2013) dramatized a pair of Shabbat dinners. In the new film, Silver, working with a bigger budget and a cast of notable actors—headed by Jason Schwartzman, Carol Kane, and Dolly De Leon—expands his emotional range and his scope of action while delving into secular Jewish life and its interface with organized religion. (The movie was shot in early 2023, before the October 7th attacks on Israel and the massacres in Gaza, thus turning it, in effect, into a historical drama of American Jewry.)

Schwartzman plays Benjamin Gottlieb, a forty-year-old cantor at a small synagogue in upstate New York. He has taken an extended sabbatical from his liturgical duties: his wife, Ruth, a novelist, died a year before, and grief has deprived him of the ability to sing. He lives with his “moms”—his actual mother, Meira (Catherine Aaron), an artist, and her wife, Judith (De Leon), a real-estate broker—in their basement. When Ben attempts a comeback at the pulpit and fails, he lies down in the middle of a road, hoping for a quick end. Instead, he is taken to a bar, where he has the novel experience of getting into a bar fight, after which his bruised cheek and bruised ego are tended to by another patron, Carla O’Connor (Kane), who is there doing karaoke. They discover that she was his music teacher in elementary school, and she soon drops in on his Hebrew-school class, declaring that she wants a bat mitzvah and insisting that he give her the requisite lessons.

Ben is skeptical—O’Connor doesn’t sound like a Jewish name—but she explains that she was born Carla Kessler to communist parents who raised her without religion. It emerges that she, too, is unmoored: she was pushed out of her teaching job after forty-two years but is unwilling to go gently, despite three mini-strokes, into a life of card games and book clubs. In a turn of events that is unsurprising but nonetheless unfolds in startling ways, the bat-mitzvah lessons give rise to a friendship defined by an unorthodox approach to religious practice.

While learning the liturgy, Carla helps Ben get his voice back, both literally and metaphorically. She has him do “belly breathing” exercises, which involve nonerotic but intimate physical contact. He invites himself to her home so that they can watch a VHS recording of his own bar mitzvah, from 1994. He soon becomes a regular (nonsexual) overnight guest there, borrowing pajamas belonging to her grown son, Nat (Matthew Shear), a psychiatrist who, upon seeing Ben in them, gets clinically weirded out. But “Between the Temples” isn’t “Harold and Maude.” Though a love story of sorts, it’s neither a tale of eccentrics finding each other nor a tale of absurdism appearing sane in a mad world. Rather, it’s a scathing vision of the routines of Jewish life, from its formalities and rules to its institutions and social habits—and a gentle look at those who find comfort in its verities. Schwartzman played a Jewish writer in an earlier independent film, Alex Ross Perry’s “Listen Up Philip,” from 2014, which I then considered the most Rothian film I’d ever seen. But “Between the Temples” matches it as an extension of the novelist’s legacy. Where Perry’s film reflects the mature, autofictional Philip Roth of the Zuckerman novels, Silver’s movie advances the satirical and critical sensibility of Roth’s early years, as in the collection “Goodbye, Columbus.”

Ben’s life is a punch line to a joke: he has two Jewish mothers, and, now that he’s single again, they’re setting him up with eligible Jewish women. The movie starts with Ben at home, enduring the noodgy company of Rachel Plotnick (Annie Hamilton), a cosmetic surgeon summoned by his moms. Before realizing that she’s “unattached,” he frets, “Do you think I need work done?” A few days later, outside the synagogue, he’s ambushed by another woman, Leah (Pauline Chalamet), who, unbeknownst to him, connected with him on JDate. (Judith set up a profile for him.) Ben’s moms aren’t alone in trying to play matchmaker. In his office, his boss, Rabbi Bruce Koenig (Robert Smigel), acknowledging Ben’s miseries, talks of his daughter, Gabby (Madeline Weinstein), who’s also been going through “a very rough time.”

It’s partly because of Roth’s pathbreaking boldness and his many successors in the Jewish American arts—and because of the more firmly established place of Jews in American society—that the critique in Silver’s film is essentially uncontroversial. It’s also because Silver is inclined to look lovingly even at characters whose behavior he lampoons, whether mining comedy from Ben’s kosher diet, from his fantasy of converting to Catholicism in order to win Ruth an afterlife, or from Judith’s fervent efforts at the synagogue to raise funds for a Holocaust Torah restoration. (At a bake sale, Judith, ever the saleswoman, awkwardly posits a traditional connection between the Holocaust and baking.) Still, religious laws and long-standing customs involve far more than comedy. Rigid adherence to them risks jeopardizing Carla’s bat mitzvah, which looms ever larger to her and Ben as a vital milestone.

“Between the Temples,” written by Silver and C. Mason Wells, is tightly plotted but feels ready to lurch into chaos at any moment; the screenplay blends refined whimsy with painful confession and uninhibited pugnacity. Just about every scene has an inspired twist, an off-kilter bit of action or dialogue, that transforms exurban tranquillity into a minefield of emotional shocks and stifled desires, seething disappointments and frantic struggles. The images, in turn, don’t merely depict the drama but become integral to it, thanks to the cinematography of Sean Price Williams, one of Silver’s frequent collaborators. Williams is among the most important artists in modern independent filmmaking. His handheld-camera work, which borrows from the methods of cinéma-vérité documentaries, turns the camera into a participant, a virtual character in the proceedings. Here, his roving, darting images are as confrontational and impassioned as the events that they capture.

In “Soft in the Head” and other films directed by Silver, like “Uncertain Terms” (2014) and “Stinking Heaven” (2015), he makes use of the forms and tones of melodrama, a genre that often skirts the edge of comic exaggeration. Silver takes advantage of that proximity to lend raucous humor to harrowing stories. One needn’t know that “Uncertain Terms,” set in a home for pregnant teen-agers, was inspired by Cindy Silver’s experience as a teen mother, or that her latter-day bat mitzvah provided the spark for “Between the Temples,” to sense that these films are personal. Silver treads well-worn paths in ways so original that he makes them his own. He experiences venerable cinematic forms from the inside, with an ingenuous spontaneity and an emotional responsiveness that dispel all irony and foreclose any archness. He makes classic-infused cinema without quotation.

On the other hand, Schwartzman and Kane, two of the most gifted and original actors of our time, are also walking quotations. Schwartzman carries the world of Wes Anderson with him, and his pain-streaked, impulsive interpretation of Ben suggests that the character’s regulating mechanism—an Andersonian mix of precision and control—has come undone. Usually compact and angular, Schwartzman, as Ben, is a bit schlubby, wearing baggy outfits of inexpressive neutrality. But as he’s forced to make his own rules, he also begins to find his own style. As for Kane, her Oscar-nominated performance in Joan Micklin Silver’s “Hester Street,” a 1975 drama set on the Lower East Side in the eighteen-nineties, in which she plays a newcomer from Eastern Europe, made her an icon of Jewish American history. Carla, in “Between the Temples,” is given a terse but powerful backstory, and Kane conveys the character’s historically infused idealism, fierce purpose, and caustic humor with tremulous vulnerability and life-rich lucidity. She and Schwartzman expand Silver’s intimate cinematic universe beyond its frames and map it onto the world at large. ♦

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This dark crime thriller show just crashed Netflix's top 10 — and it's 100% on Rotten Tomatoes

When you buy through links on our articles, Future and its syndication partners may earn a commission.

While popular shows like "Emily in Paris" and "American Murder: Laci Peterson" have dominated Netflix’s top 10 over the past week, a crime thriller you probably haven’t heard of has surged into this list — and it has a perfect score on Rotten Tomatoes.

Currently perched in the No.3 spot is "Dark Winds" (as of August 21), which follows two Navajo Tribal police officers who must investigate a series of dark crimes in the 1970s Southwest. The first time I came across this show, I had no clue I was about to discover a truly exciting crime thriller (and it came at a perfect time when I needed something to watch after "The Walking Dead").

I’ve rewatched a few episodes recently, and this series feels like it could be special to me. It’s already generating buzz on one of the best streaming services , and I’m ready to jump back in and binge-watch every twist and turn. But is it something you should watch? Here’s everything you need to know about "Dark Winds" on Netflix .

What is 'Dark Winds' about?

"Dark Winds" is a crime thriller series set in the 1970s American Southwest. The show follows Navajo Tribal police officers Joe Leaphorn (Zahn McClarnon) and Jim Chee (Kiowa Gordon) as they investigate a series of crimes on the Navajo reservation.

It’s based on the "Leaphorn & Chee" novels by Tony Hillerman, a renowned author known for his mysteries set in the American Southwest. The main characters, Leaphorn and Chee, are both deeply rooted in their Navajo heritage, and their personal and spiritual lives often intersect with their work as police officers.

The series mixes crime drama, mystery and Native American culture, giving a special view on the struggles of the Navajo community. It’s also been praised for properly exploring important topics like cultural identity, spirituality and the effects of colonialism.

'Dark Winds' is a binge-worthy thriller

If you’re into shows that pull you in with suspense, "Dark Winds" is the kind of thriller you’ll want to binge in a single weekend. The show is set in the vast, rugged landscapes of the American Southwest, which alone gives it a unique vibe that’s unlike anything else on TV.

"Dark Winds" is gripping and binge-worthy because it has the tension of a classic crime thriller, with the depth of a psychological drama. As you follow Joe Leaphorn and Jim Chee, you’re not just watching them solve crimes — you’re pulled into their world, grappling with their personal struggles and the complexities of life on the reservation. The show doesn’t shy away from the darker aspects of human nature either, and every episode leaves you with that "just one more" feeling.

Critics also raved about this show when the first season came out in 2022. Both seasons currently have 100% on Rotten Tomatoes , which is a pretty rare achievement. The Guardian's Graeme Virtue agreed with the binge-worthy aspect: "It is a knotty, atmospheric mystery that still feels fleet enough to be tackled in one or two binges."

Meanwhile, Judy Berman from TIME Magazine stated that the show is "gripping, gorgeously shot and propelled by superb performances, Dark Winds is a very good show that also happens to be very important."

Should you stream 'Dark Winds'?

You should absolutely stream "Dark Winds." With its gripping storytelling, rich cultural depth and intense dramatical aspects that offers unpredictable twists, it's a must-watch for any thriller fan, especially now that it's gaining well-deserved attention on the streamer.

Also make sure to check out Sam Raimi's "Spider-Man" trilogy before the movies leave Netflix . You can watch my favorite dark thriller show of all time that just got added to the platform, too.

Stream both seasons of "Dark Winds" on Netflix now.

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8 Movies With a 0% Rotten Tomatoes Score on Netflix Right Now (August 2024)

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Since its creation in 1998, Rotten Tomatoes has established itself as one of the most popular aggregators of movie and TV reviews. At the heart of the site’s content is the Tomatometer, a score that represents the average number of positive reviews a film or series has received from critics. Anything that earns 75% or more is given a “Certified Fresh” rating. The Netflix movies we’re looking at today are the Rotten ones — the very bottom of the barrel. However, some of these films are also among the streamer’s most-watched content. Makes you think, doesn’t it? Hate-watching is a powerful thing. Read on for a list of movies with a 0% Rotten Tomatoes scores that are available on Netflix.

If you’d like to watch something better, check out our lists of movies with a 100% Rotten Tomatoes Score on Netflix , the best shows on Netflix , and the best movies on Netflix .

Disclaimer: These titles are available on US Netflix.

'The Last Days of American Crime' (2020)

Rotten tomatoes: 0% | imdb: 3.8/10.

The Last Days of American Crime (2020)

Directed by Olivier Megaton and written by Karl Gajdusek , The Last Days of American Crime is a 2020 American action thriller based on Rick Remender and Greg Tocchini 's eponymous 2009 comic book. The movie follows a group of criminals planning the heist of a lifetime days before the government is set to start broadcasting a mind-altering signal that will eradicate criminal behavior. The film stars Édgar Ramírez , Anna Brewster , Michael Pitt , Patrick Bergin , and Sharlto Copley . There are many reasons why The Last Days of American Crime was panned by critics, not least of which is the fact that the film, which features graphic depictions of police brutality, premiered on Netflix shortly after the murder of George Floyd . It’s also a rather dull movie — a story of tired tropes and stock characters punctuated with graphic violence. Ironically, despite its ill-timed release and generally sloppy storytelling, The Last Days of American Crime was the top-watched film on Netflix in its first weekend.

Watch on Netflix

'The Ridiculous 6' (2015)

Rotten tomatoes: 0% | imdb: 4.9/10.

The Ridiculous 6

Produced by and starring Adam Sandler , The Ridiculous 6 is an action comedy Western directed by Frank Coraci from a screenplay Sandler co-wrote with Tim Herlihy . The movie follows six illegitimate sons of a Wild West bank robber who come together to find their father’s fortune. Besides Sandler, the film also stars Terry Crews , Jorge Garcia , Taylor Lautner , Rob Schneider , Nick Nolte , and Luke Wilson , among others. The Ridiculous 6 was one of the most-watched films on Netflix when it first premiered in December 2015, hitting the number-one spot in every territory. However, that doesn’t mean it’s a good movie or even an enjoyable but mediocre one. Even by the standards of Adam Sandler’s Netflix films, The Ridiculous 6 is terrible, with jokes that barely land and a plot that seems like it was just made up along the way. Even if you are a fan of Sandler’s signature style of comedy, the actor has far better fare available on Netflix than this Wild West wreck.

'True Memoirs of an International Assassin' (2016)

Rotten tomatoes: 0% | imdb: 5.9/10.

True Memoirs of an International Assassin

An action-comedy film starring Kevin James , True Memoirs of an International Assassin was directed by Jeff Wadlow , who also co-wrote the screenplay with Jeff Morris . The movie follows James as an author who is mistaken for a real-life assassin after his novel about a hitman is published as a true story. The film also stars Zulay Henao , Andy García , Maurice Compte , Kelen Coleman , Andrew Howard , and Rob Riggle . True Memoirs of an International Assassin started life as a script written by Jeff Morris that landed on the 2009 Black List of best un-produced screenplays. Though the project initially showed promise, the film received overwhelmingly negative reviews when it finally premiered as a Netflix original in November 2016. The movie never quite manages to be funny enough or exciting enough to leave a mark, and the fundamental premise has been done better by many films that came before and after, including the likes of The Lost City and American Fiction .

'365 Days' (2020)

Rotten tomatoes: 0% | imdb: 3.3/10.

Based on the works of Blanka Lipińska , 365 Days is a 2020 Polish erotic thriller directed by Barbara Białowąs and Tomasz Mandes . A young Warsaw woman ( Anna-Maria Sieklucka ) happens to be spotted by an Italian mobster ( Michele Morrone ), who instantly falls in love with her. Years later, when she visits Italy, he kidnaps her, imprisons her, and gives her 365 days to fall in love with him. So, of course, she does exactly that. With all the literary nuance of erotic fan fiction, 365 Days received overwhelmingly negative reviews. Unfavorably compared to the 50 Shades trilogy , the movie has been panned for glorifying sexual violence and predatory behavior, not to mention the mafia. However, despite being “awarded” a Golden Raspberry for Worst Screenplay and sparking petitions to remove the film from Netflix’s library , 365 Days became one of Netflix’s most-watched properties in multiple countries across continents when it premiered and has since spawned two sequels, 365 Days: This Day and The Next 365 Days .

'Marmaduke' (2022)

Rotten tomatoes: 0% | imdb: 3.4/10.

Marmaduke (2022)

Based on Paul and Brad Anderson ’s eponymous comic, Marmaduke is an animated comedy film directed by Mark Dippé , with Phil Nibbelink , Youngki Lee , and Matt Whelan credited as co-directors. The film is centered on the lovable Marmaduke (voiced by Pete Davidson ), with a world-renowned dog trainer attempting to transform him into a show dog, with disastrous consequences. The movie’s voice cast also includes J. K. Simmons and David Koechner . The animated Marmaduke movie started facing criticisms long before it even premiered, with its trailer receiving an overwhelming amount of dislikes on YouTube. On its release, the film was predictably panned by critics, who criticized the animation, story, characters, and lackluster humor. To be fair, the movie’s voice acting is actually pretty decent, but it still wasn’t enough to stop Pete Davidson from being nominated for Worst Actor at the Golden Raspberry Awards. The second adaptation after an equally bad 2010 live-action movie, Marmaduke is proof that some ideas are best left on paper.

'Naked' (2017)

Rotten tomatoes: 0% | imdb: 5.4/10.

A remake of the 2000 Swedish film Naken , Naked is a comedy film directed by Michael Tiddes and written by Rick Alvarez , Cory Koller , and Marlon Wayans , who also stars in the lead role. The movie’s plot can be summed up as Groundhog Day meets The Hangover with a naked Marlon Wayans. The movie also stars Regina Hall , Jonathan Todd Jackson , Scott Foley , Loretta Devine , Brian McKnight , and Dennis Haysbert . Ridiculous premises and slapstick comedy may be par for the course with Wayans’ movies, but Naked is a particularly terrible film based on an idea that falls apart the second you say it out loud. While the movie attempts to better itself with some romantic drama and wedding hijinks, it never actually manages to pull it off. If anything, Naked is a time-loop movie that’ll make you wish you were in one so you could go back and save yourself from the experience.

'Father of the Year' (2018)

Rotten tomatoes: 0% | imdb: 5.2/10.

Father of the Year

Produced by Adam Sandler ’s Happy Madison Productions, Father of the Year is a comedy film directed by Tyler Spindel , who also co-wrote the screenplay with Brandon Cournoyer . The movie stars Joey Bragg and Matt Shively , with David Spade and Nat Faxon as their respective fathers, and follows two best friends who get into a drunken argument about whose dad would win in a fight. But when their dads take the debate way too seriously, their whole lives are turned upside down. There are a lot of trashy, low-brow films on Netflix that are essentially just meant to be played in the background while you do more important things. Father of the Year certainly falls into that category. Panned by both critics and viewers, the movie is an exceptionally underwhelming watch that’s part coming-of-age story and part raunchy slapstick fest, with both parts handled terribly. Uneven and unfunny with no real plot in sight, this is one story of fatherhood no one needs to see.

'The After Party' (2018)

Rotten tomatoes: 0% | imdb: 5.8/10.

The After Party

Written and directed by Ian Edelman , The After Party is a 2018 comedy film that follows an up-and-coming rapper who goes viral in the worst way possible. But when his best friend gets them into an exclusive New York after-party, it’s the opportunity of a lifetime for rap superstardom. The movie stars Kyle Harvey , Harrison Holzer , Shelley Hennig , Teyana Taylor , Jordan Rock , Amin Joseph , Andy Buckley , and Blair Underwood . Though it aims to be a fun “one crazy night” story along the lines of House Party , The After Party gets too muddled in its subplots to make that sort of impact. However, despite being critically panned, the movie has had a better reception from audiences. Admittedly, the film does have some cool moments, as well as cameos by iconic celebrities like Wiz Khalifa , DJ Khaled , and more. The trouble is, none of that is enough to make up for the movie’s unfocused plot, boring characters, and flat comedy.

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Metacritic reviews

American gangster.

• 89 Austin Chronicle Marc Savlov Austin Chronicle Marc Savlov Crowe has rarely been better, and the same goes for director Scott, who parallels and then dovetails Lucas and Roberts' stories with sublime, gritty precision, working up to a magnificent "Godfather III"-style crosscutting sequence that electrifies an already explosive tale.
• 88 Rolling Stone Peter Travers Rolling Stone Peter Travers Call it the black "Scarface" or "the Harlem Godfather" or just one hell of an exciting movie.
• 80 The Hollywood Reporter Kirk Honeycutt The Hollywood Reporter Kirk Honeycutt It's workmanlike and engrossing, but what sticks in the mind are Frank and Richie, not what anybody does.
• 80 Variety Todd McCarthy Variety Todd McCarthy Absorbing, exciting at times and undeniably entertaining, and is poised to be a major commercial hit. But great it's not.
• 80 The New Yorker David Denby The New Yorker David Denby The pace of the movie is rapid, almost hectic, the touch glancing. Until the confrontation between Frank and Richie at the end, nothing stays on the screen for long, although Scott, working in the street, or in clubs and at parties, packs as much as he can into the corners of shots, and shapes even the most casual scenes decisively.
• 80 Village Voice J. Hoberman Village Voice J. Hoberman As archetypal as its title, Ridley Scott's would-be epic aspires to enshrine Harlem dope king Frank Lucas in Hollywood heaven, heir to Scarface and the Godfather. Or, as suggested by the Mark Jacobson article on Lucas that inspired the movie, a real-life Superfly.
• 75 ReelViews James Berardinelli ReelViews James Berardinelli Like in "Training Day" and "Malcolm X," where he portrayed less than perfect individuals, Washington rules the screen. His portrayal is one of many things that elevates this film to the level of being consistently entertaining and occasionally compelling.
• 75 Entertainment Weekly Owen Gleiberman Entertainment Weekly Owen Gleiberman Meticulous and detailed, a drug-world epic that holds you from moment to moment, immersing you in the intricate and sleazy logistics of crime. Yet the movie isn't quite enthralling; it's more like the ghost version of a '70s classic.
• 75 Christian Science Monitor Peter Rainer Christian Science Monitor Peter Rainer Often best around the edges. Without making a big deal about it, Scott reveals how the Mafia, while putting up a businesslike front, deplored the incursion of black gangsters into the drug trade.
• 70 New York Magazine (Vulture) David Edelstein New York Magazine (Vulture) David Edelstein For all the sprawl, American Gangster feels secondhand. It’s like "Scarface" drained of blood, at arm’s length from the culture that spawned it.
• See all 38 reviews on Metacritic.com
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Movie Review: American Gangster (2007)

• General Disdain
• Movie Reviews
• 10 responses
• --> October 29, 2007

I think it is a safe statement to say that most people, like myself, appreciate a movie that depicts a person or persons rising to the top of the food chain by perseverance, hard work and some smarts, even if their profession is less than honorable. Ridley Scott (best known for Black Hawk Down and Gladiator ) seems to agree with my assumption because he’s back behind the directors chair telling the real-life tale of a two-bit hustler turned drug kingpin in American Gangster .

The story is about the life of Frank Lucas (Denzel Washington), a street savvy guy who rose to power in the heroin trade in New York City during the late 60’s and early 70’s and Richie Roberts (Russell Crowe) an incorruptible police officer trying to stop him. Similar stories have been told before – Scarface and Serpico come to mind – but American Gangster takes a stab at combining both plots while delving deeper into the characters and the personal implications of their choices.

To start, both characters sacrifice their families for personal gain. For Frank Lucas, his desire to live the life of a prominent white man (he’s black by the way), supercedes everything. He taints his honest, hardworking Southern family by recruiting them into his criminal organization. He enlists the help of his cousin Nate (Roger Guenveur Smith) in Vietnam to coordinate the shipment of pure heroin into the states and his four brothers to become the key distributors in the tri-state area. For Richie Roberts, he’s left his wife and son on the back burner while he feverishly tries to keep drugs off of the streets, root out corruption on the police force and study for his bar exam. Both of them think they are acting for the greater good even though they are destroying all that keeps them honest and grounded.

And while American Gangster doesn’t reinvent the genre, watching these two central figures try and stay afloat amongst all the flotsam and jetsam was worth the cost of admission. Denzel Washington, who is probably one of the best actors alive today, is exceptional as Frank Lucas. It was bewildering to watch him switch between brutal gangster and family man on a moments notice. And it’s all done with the same mannerisms you and I would have while talking to a friend on the phone about a trivial occurrence – calm, collected and cool. For him there is no difference between setting a man on fire and shooting him in cold blood or taking his mother to church every Sunday. Russell Crowe isn’t a slouch by any means either. His depiction of a man caught between a rock and a hard place was equally effective. It’s hard to fathom that 75% of the police force was corrupt in those days and that being honest meant you’re a target by your peers as well as the criminals. It was painful to watch him try to hold onto his friends and family even though he knew in his heart he couldn’t keep them.

I should also mention that the set and art departments for this movie put on a great production. Capturing the look and feel of an early 1970’s New York City can’t be an easy task, but these guys and gals made it look very realistic (I especially liked the little VW assigned to Crowe). There are some great supporting characters throughout too. Josh Brolin as the corrupt Detective Trupo, Armand Assante as the unhappy mobster Dominic Cattano and Cuba Gooding Jr. as fellow street hustler Nicky Barnes all add some compelling moments to the mixture and should be applauded for their work (especially Cuba since he’s done some horrible work recently).

The lone drawback to American Gangster is it is damn near three hours long (as are most of Ridley’s better movies). There are plenty of scenes that should have been left on the cutting room floor. It’s the classic case of not knowing what was or wasn’t needed to make the film work. The incident with Richie and his partner Javier (John Ortiz) didn’t need so much air time. Neither did all the courtroom drama or family dinners and parties. The scaling back or elimination of these scenes would have allowed for more emphasis on what I thought was a rather weak ending. I felt the finale was anticlimactic – it almost seemed like the writer (Steven Zaillian) suddenly realized he needed a way to end the film so he just patched something on.

That notwithstanding, American Gangster is a well told drama. Even though it does lose focus now and again, it never loses sight of the prize. And although I doubt it will happen, it’s certainly not out of the realm of possibility that both Denzel Washington and Russell Crowe are nominated for their roles by the Academy.

I'm an old, miserable fart set in his ways. Some of the things that bring a smile to my face are (in no particular order): Teenage back acne, the rain on my face, long walks on the beach and redneck women named Francis. Oh yeah, I like to watch and criticize movies.

Movie Review: Ghosted (2023) Movie Review: Bill & Ted Face the Music (2020) Movie Review: Fantasy Island (2020) Movie Review: Snatched (2017) Movie Review: Horrible Bosses 2 (2014) Movie Review: ABCs of Death 2 (2014) Movie Review: Life After Beth (2014)

'Movie Review: American Gangster (2007)' have 10 comments

October 30, 2007 @ 9:00 am Darren

SOunds like a good movie. I’ll have to free up 3 hours this weekend to watch.

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October 30, 2007 @ 9:13 pm Laurie

I’m anxious to see this film. Denzel and Russell are two of my favorite actors.

November 3, 2007 @ 12:17 pm Pete

A very compelling drama. My only jeer is with Denzels performance. Its the same performance he put forth for most of his earlier work. Perhaps I just expect more from him.

November 3, 2007 @ 10:58 pm MartinS

Good review of a good movie. I think Russell Crowes performance is much more deserving of an Oscar than Denzel Washingtons though.

November 4, 2007 @ 1:58 pm Vibes63

I just saw the movie last night. I was very impressed. Both actors performed very well and fit the role. I was impressed at how Denzel, in the movie was so family oriented, yet so ruthless and cuthroat. It is still a little hard to compare to movies like GodFather or Scarface, but I believe that in comparision to other movies, it is up there. I also like how in the Trailers, unlike most movies, they did not reveal very much about the story or plot. Interesting to see pseudo-actors like Common and TI in the movie. I guess everyone wants to become one. One of the best movies I have seen in quite some time….

November 7, 2007 @ 8:11 pm Drock

Like the review, and cant wait to see it! Denzel is my favorite actor of all time (or atleast one of em).

November 11, 2007 @ 5:18 am fraidofthedark

Blown away by this movie, though thankfully not like any of the characters in it!

Denzel Washington played his usual black power role, but left me with feelings of empathy for his murdering son of a bitch bad guy. How does he do that?

As for Russell Crowe! Gritty, real, self-depreciating, marvelous.

Take a day off work and watch this.

November 17, 2007 @ 5:17 pm Bruno

I really enjoyed this movie. The acting by Denzel and Russell was Academy material, and it is always a pleasure to see such high caliber acting. A lot of violence, but what can you expect with this subject matter. Denzel handled the dichotomy of the gangster and family man extremely well, and Russell’s depiction of the honest cop was riveting. This movie provides a snapshot of life in the sixties and really makes you wonder if it’s much better today. One can only hope that it is.

December 13, 2007 @ 8:51 pm G38

The movie was fabulous! I thought Denzels performance was like always outstanding from the bunch. He is my favorite actor !! Besides being handsome his talent is top of the line. I couldnt miss Russell Crowe he is a great actor as well — Al lthe drama and violence was abit too much , but its reality – based on true story soo it was very interesting- and I will absolutely recommended!

March 5, 2008 @ 4:30 pm patrick

American Gangster reminds me yet again what a versatile actor Russel Crowe is… plus Ridley Scott deftly leads us into loving the bad guy and disliking the good guy only to flip that around by the end of the movie… very clever.

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American gangster.

• Common Sense Says
• Parents Say 7 Reviews
• Kids Say 12 Reviews

Common Sense Media Review

By Cynthia Fuchs , based on child development research. How do we rate?

Violent, drug-fueled drama isn't for kids.

Parents Need to Know

Parents need to know that this based-on-a-true story drama about a brutal 1970s gangster isn't for kids. He commits extremely violent acts, which are depicted explicitly (often with guns) and accompanied by blood, wounds, and groaning. And since the plot focuses on heroin smuggling and dealing, there are many …

Why Age 17+?

Pervasive drugs (opium, heroin, pills, marijuana, cocaine) and drinking. Nixon a

Much profanity, including nearly 100 uses of "f--k" (some with "mother"), as wel

Prostitutes stroll New York streets. Dancers in a Bangkok bar show cleavage and

Several scenes show shooting, fighting, and tense stand-offs between men wieldin

Coca-Cola, Ford Mustang.

Any Positive Content?

Gangsters are cruel, cocky, and greedy; cops are earnest and honest to a fault.

Drinking, Drugs & Smoking

Pervasive drugs (opium, heroin, pills, marijuana, cocaine) and drinking. Nixon appears on TV, denouncing "drug abuse." Drinking in bars (some in Southeast Asia, where the atmosphere is decidedly seedy), at parties, on the streets, and in hotel rooms. Frequent cigarette and cigar smoking (reflecting the 1970s setting). Images of heroin transportation (by sacks and bricks), production, and use; needles shown on tables and in arms (a bloody needle in one shot); cocaine and heroin snorting.

Did you know you can flag iffy content? Adjust limits for Drinking, Drugs & Smoking in your kid's entertainment guide.

Much profanity, including nearly 100 uses of "f--k" (some with "mother"), as well as plenty of uses of "s--t," "ass," "damn," and "hell." Also several uses of the "N" word -- sometimes between friends, other times used in a derogatory way.

Did you know you can flag iffy content? Adjust limits for Language in your kid's entertainment guide.

Sex, Romance & Nudity

Prostitutes stroll New York streets. Dancers in a Bangkok bar show cleavage and sexy behavior. Women's naked breasts are visible as they work to process drugs. Brief, rowdy sex scene in a kitchen; a couple of scenes show kissing (Richie with a stewardess). Men appear in bars and clubs with multiple girlfriends and sex workers who show cleavage in tight outfits. Frank and Eva kiss passionately, though the act is mostly covered up by her long hair. Frank is massaged by a woman naked from the waist up.

Did you know you can flag iffy content? Adjust limits for Sex, Romance & Nudity in your kid's entertainment guide.

Violence & Scariness

Several scenes show shooting, fighting, and tense stand-offs between men wielding large guns. An early scene shows the funeral of gangster's mentor, followed by vows of aggression against rivals. Clips of the Vietnam War appear on background TVs. Cops raid drug locations, with guns drawn and used. A man is thrown down the stairs, with bloody results. Following a shooting, there's blood on the floor and walls. Frank coldly shoots a man on the street (hole in head visible). Flashback shows Frank shooting someone while saying he's a "gentleman." Frank beats a man at a party in his home, then blows up over the blood on his white carpet. Skeet shooting; brief shots of a boxing match.

Did you know you can flag iffy content? Adjust limits for Violence & Scariness in your kid's entertainment guide.

Products & Purchases

Positive messages.

Gangsters are cruel, cocky, and greedy; cops are earnest and honest to a fault. Their run-ins result in violence and, eventually, collaboration.

Parents need to know that this based-on-a-true story drama about a brutal 1970s gangster isn't for kids. He commits extremely violent acts, which are depicted explicitly (often with guns) and accompanied by blood, wounds, and groaning. And since the plot focuses on heroin smuggling and dealing, there are many shots of junkies and drug use (including needles in arms, cocaine being snorted, and more). Sexual content includes scenes with prostitutes, kissing, bare breasts, and cleavage, and there's plenty of language, including almost 100 uses of "f--k." To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails .

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Parent and Kid Reviews

• Parents say (7)
• Kids say (12)

Based on 7 parent reviews

Frank Lucas is the American Gangster.

Morally ambiguous, well-acted and well-directed film with some heavy violence, what's the story.

Based on a true story and set in the mid-70s, AMERICAN GANGSTER centers on NYC heroin kingpin Frank Lucas ( Denzel Washington ) and Richie Roberts ( Russell Crowe ), an upright-to-a-fault detective intent on putting the ruthless gangster behind bars. Frank and Richie's relationship is complicated throughout the film; they're opposite but also linked. Both their self-images are grand: Frank rules NYC's drug underworld, and Richie turns in $1 million worth of drug money rather than keep it for himself. But while Frank surrounds himself with devoted family members, Richie is alone, rejected by his wife ( Carla Gugino ) and his fellow cops, who call him out as a "boy scout." Ambitious and politically astute, Frank sees his success as a representation of black progress. Richie's path is less sensational, more movie-style earnest. He and his hardworking undercover crew discover Frank's business precisely because Richie isn't as racist as his superiors, who don't believe that a black man could outscore the Italian mafia at their own game.

Is It Any Good?

The problem at the center of Ridley Scott 's film is that as much as the movie loves Frank's intelligence and charisma, it must also condemn his brutality and criminality. The movie's solution is typical: It pits Frank against worse villains and puts him on a parallel track with a familiar hero.

Still, as the film scrambles to its end (the last half hour moves very quickly), the two develop a mutual respect. In part, this is a function of Richie's liberal bent. He'll not only arrest a black man, he'll also work with him ... to build cases against a lot of other bad guys. And so they share a sort of moral code after all, premised on their recognition of racial equality. As corny as this relationship may be, it returns again to the movie's central problem: It loves Frank and has to hate him.

Talk to Your Kids About ...

Families can talk about whether the movie glamorizes criminal behavior. How is Frank both villainous and attractive? How does the film compare and contrast him to Richie, who's upright on the job but not a good husband? Families can also discuss the fact that the movie is based on a true story. How accurate do you think it is? Why do filmmakers sometimes tweak the facts when they're making biopics or movies based on actual events?

Movie Details

• In theaters : November 1, 2007
• On DVD or streaming : February 19, 2008
• Cast : Chiwetel Ejiofor , Denzel Washington , Russell Crowe
• Director : Ridley Scott
• Inclusion Information : Black actors
• Studio : Universal Pictures
• Genre : Drama
• Run time : 157 minutes
• MPAA rating : R
• MPAA explanation : violence, pervasive drug conviolence, pervasive drug content and language, nudity and sexuality.
• Award : NAACP Image Award - NAACP Image Award Nominee
• Last updated : August 9, 2024

Did we miss something on diversity?

Research shows a connection between kids' healthy self-esteem and positive portrayals in media. That's why we've added a new "Diverse Representations" section to our reviews that will be rolling out on an ongoing basis. You can help us help kids by suggesting a diversity update.

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British gangster thriller on Netflix with near-perfect Rotten Tomatoes score is so violent fans think it’s a horror movie

The gruesome gangster thriller has a near-perfect rotten tomatoes, and can be watched on netflix.

Michael Slavin

The line between a horror movie and a violent thriller can oftentimes blur.

Sometimes, when a thriller gets going, bullets are flying and bones are being broken, and it can have you hiding behind the sofa in the same way a terrifying horror movie is.

That’s the case for one British gangster thriller which is an absolute hidden gem.

Between the near-perfect Rotten Tomatoes score, Empire calling it one of the greatest British Gangster movies of all time, and fans being obsessed with it – you can fairly say that this is a must-watch.

That’s all before you hear that it is actually on Netflix in the UK, making it easy as anything to stick on tonight.

The film in question is Bull, a 2021 gangster revenge flick with substance, sauce, and of course – copious amounts of gratuitous violence.

Check out the trailer and see what you think:

Bull stars Neil Maskell as the titular ‘Bull’, a father seeking revenge against his father-in-law and fellow former gangsters, all for his son.

The film came out in 2021 to minimal fanfare, but has slowly built a following as more and more fans find the incredible gangster flick.

Empire’s Ian Freer gave the film four stars on release, saying: “[Director] Paul Andrew Williams and Neil Maskell breathe new life into a familiar one-man-army scenario. Unrelenting, no-nonsense and hard-as-nails — just like its eponymous anti-hero.”

The magazine went on to list the movie in their list of the top 15 British gangster movies of all time .

This placed the film on the same platform as classics of the genre such Snatch , In Bruges, and Lock, Stock And Two Smoking Barrels.

With a 93 percent score on Rotten Tomatoes, reviews were stellar.

Kevin Maher of The Times said: “What makes it so watchable, even despite the stomach-churning violence, is Williams’s clever, non-chronological narrative, which layers in the suggestion that all riddles will be answered with one closing knockout revelation.”

Nick Allen of RogertEbert.com said the film is an ‘incredibly stirring, chilling study of violence that is more unhinged than most others’, whilst Meagan Navarro of horror film experts Bloody Disgusting said: “Bull stuns with its shocking violence, keeps you guessing throughout, then impressively pulls the rug out from under you.”

This is fitting considering some fans think the film is so violent, it is basically a horror.

One fan posted about the movie on the r/horror subreddit, saying it was ‘fantastic, well made’ and ‘brutal’.

Another 10/10 review on IMDb was titled ‘I think it’s a horror film, and it’s great’, which went on to say: “Incredible film with intensity, relentless gore, and horror. This people are not nice. They all deserve it and Bull dishes it out. One of the best revenge movies I have seen”

A second 10/10 IMDb review said: “I watch crazy horror movies daily, so for this to get my heart pounding... 10/10.”

Bull is available to watch now on Netflix.

Topics:  Netflix , Horror , TV and Film , Film

Michael Slavin is a Film and TV writer for UNILAD and LADbible. After completing an English Literature with Creative Writing degree at Surrey University, followed by a Masters in International Journalism at Salford University, he began working for the Warrington Guardian as a reporter. Throughout this though, he did freelance work about Film and TV for publications such as DiscussingFilm, looking for any excuse to get to rant about films. He has now finally got that wish.

@ michaelslavin98

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The 10 Best Mafia Movies, According to Rotten Tomatoes

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Mafia movies never go out of style. Whether we’re talking old-fashioned Sicilian cosa nostra, its American descendants, or international criminal gangs across the world, it seems that filmmakers (and audiences) never tire of the genre.

But what’s got top rankings on Rotten Tomatoes? Is it your old-school 1970s-style gangster family movie? Slick, neo-noir gangs? Something from the other side of the world? These are 10 of the top-rated mafia films on Rotten Tomatoes, from gritty, black and white thrillers and grim foreign gangster pics to your more classic, tried-and-true crime clan movies.

10 The Killing (1956) - 96%

Stanley Kubrick’s third feature film was released in 1956 and still rates a whopping 96%. Black-and-white, it stars Sterling Hayden (who also played Captain McCluskey in The Godfather , see below) as Johnny Clay, a gangster ready to leave the life and get married, if he can just pull off one last big job first. He decides to delve into the world of organized crime and rob a racetrack of its betting money in the middle of a race, recruiting a dodgy cop, a racetrack worker, and a sniper to shoot the horse that’s touted to win.

But Clay doesn’t count on the betting teller blabbing to his wife, and the disgruntled wife telling her lover, who decides he’d like to rob the robbers. The initial heist is successful, but the second robbery ends in carnage, and although Johnny initially escapes with the money, his luck runs out pretty quick.

9 The Godfather II (1974) - 96%

Ranking at 96%, this seems to settle the eternal question of which Godfather movie is truly the best, the first or the second (The first (see below) being rated at 97% and number three not even a contender, coming in at a measly 66%) The second episode of the franchise has two storylines that it plays between:

We see the early life of Vito Corleone (Robert De Niro) and his rise from poor immigrant to mafia don, coming full circle from fleeing Sicily after his family is killed to returning to avenge their deaths; we also see his son Michael (Al Pacino) and his expansion of the Corleone family business, which also necessitates the destruction of his family. It’s an undeniably grand epic, just coming in that one percentage point behind the original film.

8 Goodfellas (1990) - 96%

Should Martin Scorsese’s gangster classic be ranked just a little bit higher? Based on Nicholas Pileggi’s classic book Wiseguy , it’s the true story of Henry Hill (Ray Liotta), a rare non-family member who worked his way into what was the Lucchese crime family (although they’re not named as such in the film). Standout performances from Liotta, Robert De Niro, Lorraine Bracco, and Joe Pesci, along with the stellar direction of Scorsese, make this one of the most famous mafia movies ever made.

Hill experiences every perk the gangster life has to offer before his drug problem spirals out of control and leads him to take absurd risks. His only option to avoid being killed? Becoming an FBI informant and getting into the witness protection program.

Related: How Goodfellas De-Romanticizes the Mob Life

7 Mean Streets (1973) - 96%

Coming in equally ranked with Goodfellas , Scorsese’s earlier effort predated it by 17 years, and also starred Robert De Niro (the first of many times the two would work together). De Niro plays Johnny Boy, a wild, hot-headed layabout who pals around with Charlie (Harvey Keitel), and both have mafia connections: Charlie because he works for his Uncle Giovanni, and Johnny because he owes money to some mafia loan sharks.

Their friendship manages to survive even though they are going further in different directions: devout Catholic Charlie is increasingly uncomfortable with his mob work and is secretly in love with Theresa, Johnny’s outcast epileptic cousin, while Johnny, always rash, is spiraling out of control, engaging in risky and violent behavior with all the wrong people.

6 A Prophet (2009) - 96%

French auteur Jacques Audiard received a slew of awards (including the Grand Prix at the Cannes Film Festival) and nominations for this gritty crime drama set in prison. French-Algerian teenager Malik (a remarkable Tahir Rahim) ends up with a six-year sentence after attacking police officers. He is utterly alone, and he can’t read, which makes him an easy target for a vicious Corsican gang that he falls in with.

The don (Niels Arestrup) forces him to kill a young man from the rival Maghrebi gang, and Malik subsequently rises to a position of power. But when he becomes close with a Maghrebi gangster who teaches him how to read, Malik begins to turn the tables on the Corsican don, making plans for his eventual release from prison.

5 The Godfather (1972) - 97%

Francis Ford Coppola collaborated on the screenplay for The Godfather with the author of the novel it’s based on, Mario Puzo, thus setting in motion one of the most influential films ever made, a pervasive part of our popular culture, and the first in a wildly successful trilogy. Rotten Tomatoes ranks it at 97%, although it’s hard to find flaws in the epic story of the Corleone family, of hot-tempered oldest son Sonny ( James Caan ), of ineffectual middle son Fredo (John Cazale), and eventual scion Michael (Al Pacino).

From the opening scene of Don Corleone (Marlon Brando) doling out favors to the guests at his daughter’s wedding all the way to Michael’s transformation and ascension to head of the family, the film has certainly earned its place in movie history.

Related: Why The Godfather is Considered a Masterpiece

4 Scarface (1932) - 98%

No, not that Scarface . That one only has 79%. The one with 98% was released in 1932, before the Hays Code, and was directed by Howard Hawks (and the 1983 Al Pacino-vehicle is based on it). It’s based on a novel of the same name, which itself was loosely based on the life of that most notorious gangster of all, Al Capone. Paul Muni stars as a Chicago gangster named Tony Camonte, whose ruthless and violent rise runs parallel to his pursuit (and eventual winning) of his boss’s girlfriend, Poppy (Karen Morley).

Veering from the Al Capone story, Tony dies in a shootout rather than in prison, but there is a depiction of the infamous Saint Valentine’s Day Massacre, which Capone’s gang took part in. Being a pre-Code film, it’s likely more violent than one might expect for a movie of its time, and it was banned in several states and cities upon its release.

3 Ash is Purest White (2018) - 99%

Acclaimed Chinese director Jia Zhangke based his 2018 Palme d’Or competitor on a gangster he had admired in his childhood. Guo Bin (Liao Fan) has a girlfriend, Qiao (Zhao Tao), who takes the rap for him on an illegal gun charge and goes to prison for five years, during which time he doesn’t visit her. When she’s released from jail, she goes to find him, but not only does he have a new girlfriend, he refuses to see or talk to Qiao. When she finally forces a meeting, he insists that he’s not a gangster anymore, and their relationship is over.

It’s a very different type of gangster film than American audiences might be used to, with Zhangke’s signature style and emphasis on the intricacies of Chinese society and the way that it’s changing in the modern era. It also made Barack Obama’s always-anticipated list of favorite films of the year .

2 Brother (1997) - 100%

This neo-noir drama enjoys cult status (and 100% on Rotten Tomatoes) after becoming a huge hit in Russia. It stars Sergei Bodrov, Jr. as Danila, a veteran of the Chechen War who travels to St. Petersburg to find his older brother, Viktor (Viktor Sukhorukov), who’s living a successful life in the city. What Danila and his mother don’t know is that Viktor is a gangland assassin, and that not only has he been tasked with killing a Chechen mafia boss, but Viktor’s own boss wants to kill him to avoid paying him.

Viktor cajoles Danila into doing the job for him, and the two brothers seem trapped in an eternal cycle of crime and violence. The film’s highlight is Bodrov’s performance as Danila, but the actor tragically died in 2002 when an ice slide obliterated the site of a film shoot where he was working, killing 155 people in all.

1 The Public Enemy (1931) - 100%

Another pre-Code hit, The Public Enemy starred the inimitable James Cagney as Tom Powers, a Chicago gangster during Prohibition. Although his brother Mike (Donald Cook) has spent years trying to keep him on the straight and narrow, Tom would rather make money as a bootlegger with his childhood friend Matt (Edward Woods). Tom and Matt flaunt their wealth all over town, with girls on their arms (in a well-known scene, Tom shoves a grapefruit into the face of the girl he’s about to drop).

Tom starts going around with Gwen (Jean Harlow in a star turn) and Matt gets married, and everything seems great until tensions mount between their gang and a rival group, and a gang war is set in motion. And as it was predestined from the start, Tom dies by violence, bringing to an end this highly romanticized portrait of gang life that still holds a perfect rating on Rotten Tomatoes 92 years after its release.

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Best mob movies, ranked by Rotten Tomatoes

Paramount’s 50th-anniversary celebration of The Godfather, along with the release of its beautiful 4K restoration of The Godfather trilogy, has not only been a celebration of that essential masterpiece, but also a reminder of the great tradition of mob movies in American cinema.

• 9. (TIE) A History of Violence (2005) – 87%
• 9. (TIE) Once Upon a Time in America (1984) – 87%
• 8. Donnie Brasco (1997) – 88%
• 7. The Departed (2006) – 90%
• 6. (TIE) Miller’s Crossing (1990) – 92%
• 6. (TIE) Little Caesar (1931) – 92%
• 6. (TIE) Pulp Fiction (1994) – 92%
• 5. The Irishman (2019) – 95%
• 4. (TIE) Goodfellas (1990) – 96%
• 4. (TIE) The Godfather Part II (1974) – 96%
• 3. The Godfather (1972) – 97%
• 2. Scarface (1932) – 98%
• 1. The Public Enemy (1931) – 100%

Perhaps because they hold up a mirror to the traditional American preoccupations of family and business, showing us that our values may not always be as virtuous as we would hope, we tend to regard them as some of our most cherished cinematic achievements. Of course, there are many great crime movies — cop thrillers, heist capers, prison flicks, street gang chronicles, etc. — but organized crime movies tend to loom above them all in our popular consciousness. Here are the greatest American mob movies, according to Rotten Tomatoes.

9. (TIE) A History of Violence (2005) – 87%

At the turn of the century, Canadian auteur David Cronenberg pivoted away from the sci-fi/body horror movies he was known for ( The Fly , Scanners , Dead Ringers , eXistenZ ) to work in other genres. The results included a pair of critically acclaimed mob movies: Eastern Promises , about the Russian mob in London, and A History of Violence .

Both films star Viggo Mortensen, subverting his hero image from The Lord of the Rings trilogy, released just a few years earlier. Here he plays a small-town family man with a mysterious past who is drawn into a showdown with the Irish mob out of Philadelphia, including a couple of psycho gangsters played with great relish by Ed Harris and William Hurt. Critics praised Cronenberg’s exploration of the way that human beings condemn violence while also craving it.

9. (TIE) Once Upon a Time in America (1984) – 87%

Starring Robert De Niro and James Woods as child friends who rise together in the world of organized crime, Once Upon a Time in America is notable for chronicling Jewish mobsters in New York City, as opposed to the typical Italian and Irish gangers depicted on screen.

An American/Italian co-production from the great Italian director Sergio Leone ( The Good, The Bad and the Ugly ), the movie didn’t have the most illustrious beginning in the United States, as it was released in a truncated version (139 minutes down from 229 in Europe) that critics and audiences found incoherent. But once the full version was restored with help from Martin Scorsese, the film’s greatness became apparent to American viewers and Once Upon a Time in America took its place among the pantheon of crime epics.

8. Donnie Brasco (1997) – 88%

After looming large over 1970s cinema with crime classics such as the first two Godfather movies, Serpico , and Dog Day Afternoon , Al Pacino came roaring back in the 1990s with a clutch of hard-edged movies that recalled his classic ’70s work. These included The Godfather Part III , Carlito’s Way , Heat , and Donnie Brasco , based on a true story of an FBI agent (a pre- Pirates of the Caribbean Johnny Depp) who infiltrated a top New York crime family and gained the confidence – and unexpected friendship — of a hitman played by Pacino.

Critics appreciated the well-crafted suspense, as well as Pacino’s strong character work. The movie also contributed the classic line “ fuhgeddaboudit ” to immortal Pacino gangster quotes that include “I’m going to make him an offer he can’t refuse” from The Godfather and “Say hello to my little friend!” from Scarface .

7. The Departed (2006) – 90%

The mandate to the casting director on The Departed must have been to get all the movie stars they could find for this remake of the 2002 Hong Kong gangster classic Infernal Affairs . Leonardo DiCaprio, Matt Damon, Jack Nicholson, Mark Wahlberg, Martin Sheen, and Alec Baldwin dig into juicy roles in an entertaining yarn about a mole (Damon) who infiltrates the Massachusetts State Police on behalf of Irish mob boss Frank Costello (Nicholson), while a troubled undercover cop (DiCaprio) simultaneously infiltrates Costello’s gang in an attempt to take him down.

After years of failing to give Scorsese an Oscar when many felt he deserved it (for Taxi Driver , Raging Bull , and Goodfellas , among others), the Academy went all-in on The Departed , awarding it Best Picture and Best Director for Scorsese, as well as several other Oscars.

6. (TIE) Miller’s Crossing (1990) – 92%

Joel and Ethan Coen have made many crime films, including Burn After Reading , Blood Simple , and Raising Arizona , but Miller’s Crossing is their only bona fide gangster picture. Starring Gabriel Byrne, Albert Finney, and John Turturro, the highly stylized film chronicles the Prohibition-era war between the Irish and Italian mobs, and the midlevel gangster (Byrne) who tries to play them off each other for his own gain.

Though it isn’t considered as great a Coen Brothers crime classic as Fargo or No Country for Old Men, Miller’s Crossing remains an esteemed part of the brothers’ oeuvre, and a worthwhile watch for the filmmaking alone — including the famous tracking shot of a man (Turturro) pleading for his life in the woods.

6. (TIE) Little  Caesar (1931) – 92%

Warner Brothers became known for hard-edged, tough-talking gangster pictures in the 1930s and Depression-era audiences couldn’t get enough of them. Little Caesar was among the first and most famous of the films, and it made a star (and a caricature) out of Edward G. Robinson, who plays Caesar Enrico “Rico” Bandello, aka “Little Caesar,” a small-town hood who guns his way to the top of the Chicago mob.

As with other Pre-Code gangster pictures — the film was made before the Production Code Administration began to dictate content on screen in 1934, mandating the way that Hollywood depicted crime and violence — a great deal of social anxiety existed over whether the film was glorifying gangsters or condemning them. Either way, Little Caesar helped define the American mob movie.

6.   (TIE) Pulp Fiction (1994) – 92%

There’s not much new to say about a film this beloved and famous, except perhaps that it’s easy to forget just how shockingly fresh Pulp Fiction felt when it arrived in theaters almost 30 years ago. Yes, there actually was a time before pop culture became inundated with references to five-dollar milkshakes, Big Kahuna burgers, bringing out the gimp, “correctamundo,” the glowing briefcase, the gold watch, a Royale with Cheese, and quoting “Ezekiel 25:17”  before putting a cap in somebody’s derriere.

Tarantino’s genius was to make a comedy of his crime material, not a broad farce like Sylvester Stallone’s mob comedy Oscar from a few years earlier, but a bizarre romp through an alternative Los Angeles underworld in which it was perfectly normal for two mob hitman (John Travolta and Samuel L. Jackson) to discuss the decorum involved in giving a foot massage on their way to a gangland execution. Few films in any genre have remained this influential.

5. The Irishman (2019) – 95%

Director Martin Scorsese had wanted to make the story of a mob hit man (Robert De Niro) with connections to the Teamsters union and its famous president, Jimmy Hoffa (Al Pacino), for decades. He finally got the financing he needed (reportedly as high as $200 million) from Netflix, which was then hoping to get into the prestige motion picture game. The film received a lot of press for this, as well as its use of de-aging technology to make De Niro, Pacino and Joe Pesci – who came out of retirement to appear in the film – age convincingly over the decades depicted.

Fortunately, the media whirlwind surrounding the production didn’t compromise what’s on screen, with critics hailing the film as another near-masterpiece from Scorsese. Netflix also had their wish granted when The Irishman earned 10 Academy Award nominations, including Best Picture and Best Director.

4. (TIE) Goodfellas (1990) – 96%

When Hollywood unceremoniously released three mob movies during the same week in the early fall of 1990 — the Coen Brothers’ Miller’s Crossing , State of Grace (starring Sean Penn and Gary Oldman), and Martin Scorsese’s Goodfellas – no one could have predicted that the latter of them would enter the canon of great American movies and still be revered today for Scorsese’s dazzling filmmaking, its volcanic performances (especially that of Joe Pesci as the psycho mobster Tommy DeVito), and rousing rock and roll soundtrack.

Based on the book by journalist Nicholas Pileggi about a real New York crime outfit, Goodfellas (Scorsese’s third film on this list) stands with the first two Godfather films as among the great cautionary tales depicting the soul-destroying consequences of a life of crime.

4. (TIE) The Godfather Part II (1974) – 96%

After the huge unexpected success of The Godfather , Francis Ford Coppola quickly turned out this epic sequel that won him the Best Director Oscar he had failed to win for the original two years earlier. The movie intersperses Michael Corleone’s (Al Pacino) attempts to steer his crime family into legitimacy in 1950s Nevada with flashbacks that show his father Vito as a young man (played by Robert De Niro) coming to power in New York’s Little Italy.

Coppola was working with a bigger budget, and it shows in the massive, intricately choreographed set pieces not only of Little Italy and Lake Tahoe, but also Ellis Island and Cuba during Castro’s revolution. Some critics, including Roger Ebert , found the film to be less than the sum of its parts, but overall, the sequel has endured as a classic companion to the original.

3. The Godfather (1972) – 97%

Few movies have been the cause of more spilled ink than The Godfather over the course of their existence. And legions more recent articles have affirmed its merits, influence, and status while celebrating the film’s 50th anniversary theis year. Meanwhile, the recent Paramount+ series The Offer  chronicles the famously troubled production and proclaims the film’s very existence as something of a miracle.

Given all that, there’s precious little new ground to cover when discussing writer Mario Puzo and director Francis Ford Coppola’s multigenerational family crime epic. If there is perhaps an area in which the movie hasn’t quite gotten its due, it is in setting the template for criminal antiheroes – bad guys so charismatic, relatable, and sympathetic that we can’t help but root for them. Without The Godfather, the Peak TV era of the 2000s featuring antihero-driven shows like The Sopranos , Breaking Bad , Dexter , Mad Men , etc., might have looked very different.

2. Scarface (1932) – 98%

The 1983 version of the film starring Al Pacino as a Cuban immigrant becoming a drug kingpin in Miami is much more famous with contemporary audiences, but the original was a sensation in its day. Directed by Howard Hawks, Scarface was loosely inspired by Al Capone and his criminal exploits in Chicago, including the St. Valentine’s Day Massacre. Paul Muni plays Tony Camonte, an Italian immigrant who muscles his way to the top of the Chicago mob while becoming romantically obsessed with his boss’ mistress.

Along with Little Caesar and the number one movie on the list, The Public Enemy , Scarface was one of the defining early pictures of the gangster genre. All three films battled censorship and controversy over their depiction of criminal activities and were pressured into substantial changes by organizations that feared the films glorified crime, even though the producers insisted they were condemning criminal activity as a means to achieve the American dream.

1. The Public Enemy (1931) – 100%

The Public Enemy , directed by William Wellman, is the third of Warner Brothers famous triptych of Classical Hollywood gangster films on this list. This one stars James Cagney in a powerhouse performance as Tom Powers, a bootlegger who rises to wealth and power during Prohibition. Like Scarface , the movie chronicles the ways in which Tom’s criminal violence tears apart the family he hopes to protect and maintain. In doing so, it helped establish the narrative emphasis on family that many other mob movies, such as The Godfather , would follow.

In addition to its perfect score on Rotten Tomatoes, the Library of Congress selected The Public Enemy for preservation in the National Film Registry for being “culturally, historically, or aesthetically significant.” It remains a raw and captivating look at the Depression-era fascination with crime.

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Early reviews for Scream VI are lauding it as a new peak for the veteran franchise and the best entry since the game-changing 1996 original. Coming from the one-of-a-kind mind of the late great Wes Craven, Scream is the rare franchise that never runs out of steam. Thanks to a premise designed to reinvent itself with each new entry, Scream is the gift that keeps on giving, to the point where it wouldn't be an overstatement to say every chapter in the series is among the all-time best horror movies.

While every entry in the series ranges from "good" to "great," we can still rank them from worst to best. No fan's ranking will look the same; some might be OG Scream purists, while others will insist 2022's Scream is the new blueprint. However, we can all admit there are no weak entries in this franchise, with each film adding something to Ghostface's lore while cementing Scream as a cinematic horror institution. 5. Scream 3 (2000)

The Super Bowl is not your ordinary football game. It's a global experience witnessed by more than 100 million people each year. From the game to the halftime show, the Super Bowl is the biggest marketing opportunity of the year, which is why companies spend millions on 30-second commercials. Major film studios also use the Super Bowl as a launching pad for their upcoming film slate.

The 2023 Super Bowl featured 12 new trailers for some of the year's most-anticipated films. From Marvel and Lucasfilm to DC and Universal, almost every major studio unveiled new footage for a future movie. Below are the best trailers from the 2023 Super Bowl, ranked from 12 to 1. 12. The Super Mario Bros. Movie The Super Mario Bros Movie - Official Plumbing Commercial (2023) Chris Pratt, Charlie Day

The Wizarding World began with the Harry Potter movies before evolving into a sprawling if uneven cinematic universe. The tale of The Boy Who Lived enchanted fans the world over, becoming a cultural phenomenon and reaping massive critical and commercial success. Harry's story ended with Harry Potter and the Deathly Hallows Part 2, a suitably epic and satisfying conclusion to the saga that defined a generation.

Not willing to abandon one of their most successful franchises, Warner Bros. greenlit a series of spinoffs beginning with 2016's Fantastic Beasts and Where to Find Them. This new series failed to achieve the same critical and commercial reception as its predecessor, but it successfully kept the Wizarding World afloat. Eleven films have premiered so far, including Fantastic Beasts: The Secrets of Dumbledore, as well as the blockbuster video game Hogwarts Legacy. Most of the Potter movies earned considerable acclaim from critics, as evidenced by their high scores in the review aggregator Rotten Tomatoes, but the Fantastic Beasts entries haven't been as lucky. Fantastic Beasts: The Crimes Of Grindelwald (2018) -36%

The Best Gangster Movies Of All Time According To Rotten Tomatoes

Venture with us into the realm of tommy guns, fedoras and Robert De Niro — let's talk about gangster movies! We know that you're all desperate to discover new content, so we're going to make you an offer you can't refuse. Today, we're taking a look at the best gangster movies out there. And you don't have to just believe us, either. We're bringing the power of data with us.

This list isn't just our opinion; it's backed up by the reviews aggregated by Rotten Tomatoes. These films are ranked by their Tomatometer score (which only factors in review scores from approved critics) and then audience score. We think you'll probably be surprised by some of the results. The bar is extremely high — just as a bit of a hint, films had to have at least a 97% Tomatometer score to crack this list.

Sit back, grab a cannoli and don your finest suit — these are the best gangster movies of all time according to Rotten Tomatoes.

Mean Streets

Betcha didn't see this one coming — we're kicking things off with a Martin Scorsese and Robert De Niro collaboration. Amazingly, even though this pairing is often the duo that immediately springs to mind in the world of gangster movies, this is their only collaboration that qualified for this list.

Mean Streets is often forgotten when discussing the great gangster films of Martin Scorsese. It's one of his first films, so it definitely has a much rawer feel than some of his later, more polished works. It does feature some impressive performances, especially from De Niro and another frequent collaborator, Harvey Keitel. It also tells a familiar story to many of Scorsese's other works, and is much less subtle with how its characters deal with their criminal behavior when put up against their Catholic faith.

Don't sleep on Mean Streets . Not only is it a great film in its own right, but it's also the place to start if you want to see how Scorsese has evolved as a filmmaker over the years.

Un Prophete (A Prophet)

A lot of movies about organized crime have moments of levity to help break the tension. Un Prophete is not one of them. This is a white-knuckle film about the brutality of prison life and one man's rise from complete nobody to becoming the king of the criminal underworld.

Un Prophete is about a man named Malik who is sent to prison for attacking a group of police. He cannot read or write, and quickly learns to fall in with a gang in order to survive. As he impresses and crosses various power players in the different criminal groups, Malik also begins to hedge his bets to set himself up for success.

Un Prophete works for a lot of reasons: The direction and writing are razor sharp. The pacing never flags. Arguably most importantly, however, the acting is superb. Niels Arestrup turns in a chilling performance as Luciani, but this is a true star turn from lead actor Tahar Rahim. He is simply dynamite in Un Prophete , and you'll want to watch him in anything after seeing him in this.

When people talk about actors in gangster movies, a few names almost always come up — names like Robert De Niro, Joe Pesci, Al Pacino, and Harvey Keitel. James Cagney isn't mentioned as often, at least by younger film fans, but modern gangster movies owe a lot to the man, and  White Heat is a great place to start if you want to understand why.

Cagney plays Cody Jarrett, a psychotic gangster who is overly attached to his mother, Ma Jarrett. Cagney is amazing to watch in this film — he bounces all over the screen, going from zero to one hundred in a split second and keeping the audience (and every character he comes across) on their toes. His supporting cast (especially Margaret Wycherly as Ma and Virginia Mayo as Cody's wife, Verna) are also completely on point and compelling.

White Heat has some serious drama and great action scenes, and the final showdown includes one of the most climactic death scenes ever put to film. Top of the world, indeed.

The Godfather Part II

The Godfather Part II is one of the rare sequels that some say even surpasses the original — quite the tall order, as The Godfather is also considered a masterpiece. Francis Ford Coppola's sequel tells a tale that's infinitely more complex than the original, so make sure you're paying attention.

The Godfather Part II serves as both a prequel and a sequel to the original film, jumping between different time periods as it shows the trials and tribulations in the history of the Corleone family. Michael (Al Pacino) and Vito (Robert De Niro) are the featured characters here, though the cast is a veritable who's who of big names — Diane Keaton, Robert Duvall, and Talia Shire are just a few of the other stars who appear.

The Godfather Part II is just incredible across the board. It's a gripping tale full of tension, great action, and amazing performances. It's also beautiful to look at. Set up a double feature with this and the original film (maybe just ignore Part III ) and take it all in.

Scarface (1932)

This probably isn't the Scarface you're thinking of. The Al Pacino-led "Say hello to my little friend!" classic is actually a remake of this film, with some key plot details changed. It's mostly the same movie, but the 1932 Scarface is probably a bit tamer when viewed through modern eyes.

This Scarface tells the story of Tony Camonte, an Italian immigrant who starts taking over more and more of Chicago as his confidence grows. He slowly takes out the competition, betraying allies and friends when it suits him, all the while inspired by a massive neon sign outside his apartment that reads "The World is Yours!" Just as in the Pacino remake, Tony eventually gets in over his head, and a dramatic showdown closes the film.

Scarface boasts an incredible lead performance from Paul Muni, one of the best actors of his era. Keep a lookout for Universal horror stalwart Boris Karloff in a supporting role as well.

The French Connection

The French Connection is an arguably overlooked classic in the gangster movie canon. It focuses more on the detectives than the criminals, but incorporates a lot of the same plot devices and stylistic flourishes you'd expect from the genre. It's also got some amazing performances from its lead actors, and it's a movie any fan of classic mafia movies should check out.

Gene Hackman stars in The French Connection as "Popeye" Jimmy Doyle, a narcotics detective on the trail of a French heroin smuggler named Alain Charnier. Together with his partner Buddy Russo (Roy Scheider), Doyle must infiltrate the seedy criminal underworld and stop Charnier from escaping the country.

The French Connection is intense all the way through — you never know who you can trust, or if Doyle and Russo will come out on top. It's based on a true story, and it absolutely cleaned up at the Oscars the year it was released. It's an incredible film that no one should miss.

The Killing

A Stanley Kubrick-directed heist movie? You know you're in for the goodness with this one. The Killing  absolutely oozes tension — Kubrick is one of the best directors ever at establishing a mood and making you wait in anticipation for the big payoff. The Killing has big set pieces to help build its dynamic, and a relatively short runtime (only 83 minutes) means the plot never slows down.

The Killing is about a gangster named Johnny (Sterling Hayden) trying to pull off one last score: a robbery of the counting room during a massive horse race. He recruits an eclectic team to help him pull off his meticulously planned heist. It's all set up to go off without a hitch, of course — if not for one member telling his wife, who starts hatching a plan of her own.

The Killing is one of Kubrick's earliest films, but you can already see a lot of the director's trademark precision in it. Fans of Quentin Tarantino 's  Reservoir Dogs should check this one out —  Tarantino cites The Killing as a major influence on that film.

The Godfather

There isn't a lot we can say about The Godfather that hasn't already been said. It's widely considered one of the best films of all time , and is seen by some as a turning point for American cinema in general. It has some all-time great performances from some of the biggest actors in history, including Marlon Brando, Al Pacino, Diane Keaton, James Caan, and Robert Duvall. It helped fuel the rise of director Francis Ford Coppola as part of the new Hollywood elite. The Godfather is, quite simply, one of the most important films ever made.

If you don't know the story, The Godfather is based on a book of the same name by Mario Puzo. Puzo's characters and events are all fictional, but he based the story of the Corleone family, one of the most powerful mafia families in post- World War II New York, on real mafia crime families, and it isn't hard to identify his real-life influences.

If you haven't seen it, you should. If you have seen it, you should probably watch it again. Pair it with Part II for a great double feature.

Chinatown isn't 100% a "gangster" movie; however, this neo-noir classic touches on enough similar areas to count. It's got arguably the best performance of Jack Nicholson's storied career, awesome supporting work from acting greats like Faye Dunaway and John Huston, and some of the best cinematography you'll ever see.

This is one of those classic noir movies where you simply have no idea who or what you can trust, even after it's all over. Everyone in Chinatown is self-serving, pulling strings and manipulating events (and the audience) for their own gain. It tells the story of the struggle for California water rights, as various political and labor organizations work in the shadows for the power (and money) to control the state's reservoirs. Nicholson plays a private detective who is pulled into the struggle by a femme fatale who is not exactly who she says she is.

Chinatown has a lot of twists and turns, and to say much more might give too much away. It's got one of the all-time great closing lines in cinema, and the mystery is unraveled bit by bit — just enough to keep you guessing until the dramatic, final reveal.

The Public Enemy

We're getting into some seriously elite company here: the vaunted "100% fresh" Tomatometer rating. The Public Enemy might be a little hard for modern audiences — it's almost a century old at this point, so a lot of the acting and filmmaking techniques might seem a bit dated. That said, it's really astounding to watch a movie of this vintage and see just how much influence modern gangster films draw from it.

The Public Enemy stars James Cagney as a Prohibition-era gangster named Tom Powers. The film gradually shows the events in Tom's life that push him towards the world of organized crime — bad luck, bad choices and bad influences all conspire to lure him down the path. Cagney totally carries the film: despite the warnings in both the prologue and epilogue, you can't help but be drawn in and captivated by his performance. He's intense, compelling, and oddly sympathetic, despite the fact that he's a despicable human being.

The Public Enemy is a gangster classic. Grab yourself a grapefruit and give it a whirl.

The Friends of Eddie Coyle

Another film with a 100% Tomatometer rating, The Friends of Eddie Coyle  showcases one of the most underrated actors in history: Robert Mitchum. Few actors of Mitchum's era had his type of screen presence, yet he's only really remembered for a few films, like Night of the Hunter and the original Cape Fear . One of Mitchum's best films,  The Friends of Eddie Coyle  focuses on the sorrow and fear of the criminal underworld rather than glamorizing it.

Mitchum stars as the title character, a low-level gunrunner facing a heavy prison sentence. He realizes that the only way to avoid spending his final years in prison is to become an informant, but he tries to keep up his criminal lifestyle as well. Soon, every side is out to get him, and he slowly learns that he can't trust anyone.

The Friends of Eddie Coyle isn't uplifting, and it doesn't have that glitz and glamor about "the lifestyle" that a lot of movies about organized crime portray. Mitchum does an incredible job as the everyman caught in the wheels of the machine, and you can't help but be captivated by the tragedy of his character.

Angels with Dirty Faces

Here you have it, folks — Angels with Dirty Faces , the highest-rated gangster movie on all of Rotten Tomatoes. It's another James Cagney flick, and probably the most famous of the actor's classic gangster films. It also touches on some of the main themes that are explored in most modern gangster movies — should these bad men have our sympathy, and do they have a chance at redemption?

Cagney stars as Rocky Sullivan, who is sent to reform school as a child after stealing from a train with his friend Jerry. Jerry is not caught, and eventually becomes a Catholic priest. Rocky, however, continues down the path toward organized crime, and is eventually sent to prison.

When Rocky gets out, he attempts to claim his share of the last big heist he pulled, but his former partner declares war on him. Rocky recruits a gang of misguided youths, while Jerry tries to keep those kids from following in Rocky's footsteps. There are so many betrayals in this movie, and you're never sure who is going to come out on the winning side — or what that winning side will ultimately look like.

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American Gangster

American Gangster is a 2007 neo-noir gangster film directed by Ridley Scott adapted from a New York magazine story "The Return of Superfly", by Mark Jacobson, starring Denzel Washington and Russell Crowe .

Filming was done on location in New York City. American Gangster was released in the United States and Canada on November 2, 2007. The film was also nominated for two Academy Awards, including a notable Best Supporting Actress nomination for Ruby Dee who appears on screen for less than 10 minutes.

This is the second film Denzel Washington and Russell Crowe worked on since Virtuosity . This is also the first time director Ridley Scott has worked with Denzel Washington in comparison to his brother - Tony Scott who has worked with Denzel on several films.

• 4.1 Critical response

Frank Lucas ( Denzel Washington ), a real-life gangster from Harlem who smuggled heroin into the United States on American service planes returning from the Vietnam War. Richie Roberts ( Russell Crowe ), a detective attempting to bring down Lucas' drug empire.

Synopsis [ ]

Ellsworth "Bumpy" Johnson ( Clarence Williams III ), a disciplined and intelligent gangster, runs much of Harlem and imparts his wisdom onto his former driver turned right-hand man, Frank Lucas ( Denzel Washington ). Johnson dies of a heart attack in 1968, at an electronics store. Frank dislikes the new, flashy gangsters and decides to take control. To gain money and power, he travels to Bangkok, Thailand, and with the help of his "cousin" who is an Army Staff NCO, strikes a deal with a Chinese nationalist general in the Golden Triangle of Southeast Asia, who supplies him with pure heroin. Starting with a first shipment of 100 kilograms, Frank has the drugs transported back to America via military service planes. His final shipment comprises two tons hidden in the coffins of seven dead U.S. soldiers from the Vietnam War.

Newark Police Department detective Richie Roberts ( Russell Crowe ) is juggling a failing marriage, late-night law school classes, and his police career. When Richie and his partner, Javier Rivera, discover nearly $1 million in unmarked bills in a car, Richie resists temptation and turns the money in. His rare honesty makes him a hated member of his precinct, causing his partner to be exiled from the force, while Richie's rampant womanizing behavior and undercover double life leads his wife to seek a divorce and custody of their son. After his exiled partner dies from overdosing on "Blue Magic", a relatively new and powerful type of heroin being sold for less money than its competition, Richie's honesty catches him a break when his superior Captain Lou Toback ( Ted Levine ) puts him in charge of a newly created task force to stop major drug trafficking in Essex County, New Jersey by going after the actual supplier, rather than the middle-men. Richie handpicks honest cops and gets to work on finding who is supplying Blue Magic.

Frank's unique drug supply enables him to sell pure heroin, as contrasted with the adulterated product sold by his rivals, and at a lower price, because he cut out the middle men in the supply chain. He creates a brand “Blue Magic” and with an effective monopoly on quality product, Frank quickly makes a fortune and buys several nightclubs and apartments. He moves his family from North Carolina to New Jersey, where he purchases a large estate for his humble mother ( Ruby Dee ). His five brothers are enlisted as his lieutenants in the drug trade – forming “The Country Boys” who work together to traffic and sell dope on Harlem streets.

During his rise, Frank meets and falls in love with Eva (Lymari Nadal), a Puerto Rican beauty queen. Through his discipline, organization, and willingness to kill those in his way, Frank quickly rises to the top of the Harlem drug and crime scene. As Frank's business prospers, he makes a point of operating quietly and dressing with a modest conservatism both as a sign of strength and to avoid attracting the attention of the law. However, Frank disregards this habit for his wife for one ostentatious night out, attending the Fight of the Century between Muhammad Ali and Joe Frazier, in a gaudy chinchilla fur coat and hat, along with a ringside seat. As it happens, Roberts is on duty observing the event and sees this unknown, but obviously wealthy person associating with high-level criminals, as well as having better seats than the Italian Mafia. Roberts becomes suspicious, and he begins to investigate this unknown (to him) figure in New York organized crime. Even as Frank realizes he has exposed himself to police scrutiny, he must make deals with the Mafia, in this case Lucchese crime family Mob boss Dominic Cattano ( Armand Assante ), and fend off corrupt NYPD detectives, such as Det. Trupo ( Josh Brolin ), who attempt to extort and threaten him. Trupo's dislike of Frank is capped when his prized Shelby Mustang is bombed before his eyes. Frank must also contend with local crime figure Leroy Barnes ( Cuba Gooding Jr. ), who is taking some of Frank's product, diluting it himself, and selling it under Frank's "Blue Magic" brand name.

Unidentified assassins try to kill Frank’s wife, further destabilizing him and threatening his marriage. Things take a turn for the worse when Frank sees the U.S. military vacating Vietnam, which in turn cuts off his primary heroin transportation. His Kuomintang supplier sympathetically tells him "Quitting while you are ahead... is not the same as quitting." Richie catches another break when his men witness Frank's cousin shooting a woman. They use the driver’s predicament to get him to wear a wire. The wire allows Richie and his task force to discover when a plane carrying drugs is landing, though Richie is ordered to cease his search of the coffins by a Federal agent who snarls an anti-Semitic slur at him.

Trupo leads his band of police officers to Frank's mansion where they take Frank's emergency cash supply. Frank is enraged at what Trupo did, and sets out to kill him and other associated officers. Frank's mother pleads that he not go through with it, and Frank decides not to murder Trupo. When the plane lands, Richie and his men follow the drugs into Newark's projects and obtain a warrant. A huge group of police and detectives attack the drug apartments en masse and a large shootout ensues. Frank is at church when the bust goes down, but he is arrested after the service ends. Frank and Richie finally meet, and Frank’s attempts to threaten Richie are unsuccessful. Richie tells Frank that he will go to prison for the rest of his life unless he provides all the information he has, and accurately. With no other options, Frank decides to provide names of numerous other criminals, including his and Richie’s common enemies: corrupt NYC detectives. Numerous corrupt cops are arrested, and a distraught Trupo kills himself to avoid arrest.

Richie, having passed the bar exam, prosecutes Frank. Some time after the Lucas trial, he eventually leaves the prosecutor's office, and becomes a defense attorney. The first client he takes is Frank. Because of his cooperation, Frank receives a relatively light sentence of 15 years rather than the original 70. He is arrested in 1975. At the film’s end, he steps out of jail in 1991 significantly older and out of place, but with Richie waiting to pick him up.

• Denzel Washington as Frank Lucas
• Russell Crowe as Richie Roberts
• Josh Brolin as Detective Trupo
• Chiwetel Ejiofor as Huey Lucas
• Ruby Dee as Mahalee Lucas
• Lymari Nadal as Eva
• Carla Gugino as Laurie Roberts
• Armand Assante as Dominic Cattano
• Cuba Gooding Jr. as Nicky Barnes
• Ted Levine as Lou Toback
• Idris Elba as Tango
• John Hawkes as Freddie Spearman
• John Ortiz as Javier J Rivera
• RZA as Moses Jones
• Roger Guenveur Smith as Nate
• Yul Vazquez as Alfonse Abruzzo
• Malcolm Goodwin as Jimmy Zee
• Ruben Santiago-Hudson as Doc
• Joe Morton as Charlie Williams
• Ritchie Coster as Joey Sadano
• Common as Turner Lucas
• Tip Harris as Stevie Lucas
• Kevin Corrigan as Campizi
• Robert Funaro as McCann
• Jon Polito as Rossi
• KaDee Strickland as Richie's Attorney
• Norman Reedus as Detective in Morgue
• Roger Bart as US Attorney
• Ric Young as Chinese General
• Clarence Williams III as Bumpy Johnson (uncredited)

Reception [ ]

Critical response [ ].

Review aggregate Rotten Tomatoes reports that 81% of critics have given the film a positive review based on 216 reviews, with a rating average of 7.00/10, with the consensus being: " American Gangster is a gritty and entertaining throwback to classic gangster films, with its lead performers firing on all cylinders." On Metacritic , which assigns a weighted mean score out of 100 to reviews from film critics, the film has a score of 76 based on 38 reviews.

Roger Ebert of the Chicago Sun-Times gave the film a perfect four star rating and opined, "This is an engrossing story, told smoothly and well." Ebert also praised Crowe's performance, saying that his contribution to the storytelling was "enormous". Paul Byrnes of The Sydney Morning Herald felt that American Gangster was "one of the most intelligent gangster films in years" and expressed that the film offers "the spectacle of grand themes and two bigger-than-life characters played by two of the best actors in cinema." Concluding his review, Byrnes gave the film four out of four stars.

• 1 The Longest Ride

Screen Rant

Kristen stewart's follow-up to 94% rotten tomatoes hit might've actually gone too far.

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I'm Worried Bridgerton Season 4 Will Make The Show's Daphne Crime Worse Amid Anthony Uncertainty

This cult classic 1981 sci-fi movie was sean connery's version of an all-time great western, the 8 movies that defined vin diesel’s career.

Content warning: the following article contains discussions of addiction and violence.

• Love Me pushed the boundaries of its genre too far, receiving a divisive reception.
• Love Lies Bleeding was a triumph in subversive romance, while Love Me didn't receive the same praise.
• The premise of Love Me, a post-apocalyptic romance featuring robots, was perplexing and challenging.

Love Me , Kristen Stewart's follow-up to a provocative love story with a 94 percent Rotten Tomatoes rating may have gone too far. Kristen Stewart's movie repertoire already holds two romantic films for 2024, and they both push the envelope of what a cinematic love story looks like. In one film, Stewart's character is the daughter of a criminal gun range and gym owner who helps her girlfriend take down her father and her sister's abusive husband amid themes of love and addiction. The other is a post-apocalyptic tale that centers on an unconventional romance after the fall of civilization.

While both films include mind-bending elements, Love Me may have gone too far. Stewart's 2024 sci-fi romance elicited a 47 percent rating on Rotten Tomatoes from early reviews , and the film has already garnered a divisive audience reception. However, the odd movie headlined the Sundance Film Festival in 2024, and the film boasted the Sundance Institute and the Alfred P. Sloan Foundation's joint Science-In-Film award ahead of its presentation. Still, Love Me arguably went too far when pushing the boundaries of traditional romance while falling flat on a romantic story's most essential elements.

The Premise Of Kristen Stewart's Love Me Is Baffling

Kristen stewart stars opposite steven yeun.

The premise of Kristen Stewart's follow-up to Love Lies Bleeding is even more baffling than the body horror thriller. Love Me explores a romance in the aftermath of civilization's fall, with the sci-fi romance subverting traditional romance to suit the setting. Viewers witness the post-apocalyptic romance tale experienced through the lens of two robots who meet within their systems. Kristen Stewart plays Me , a lonely water buoy designed in 2600, with Steven Yeun as IAm. Yeun's character is a satellite tasked with managing data about human life, and he falls into Me's attempt to make the satellite her boyfriend.

Love Me was written and directed by filmmaker couple Sam and Anthony Zuchero.

It's an alienating concept, and Love Me 's story was divisive. While some reviews found it a brilliant tale, others considered it a strung-together vision with an uncommitted execution. Love Me movie reviews suggest that the film fell short of delivering the emotion required to sell the narrative, and the plot itself was void of the feelings it calls into question. What's certain is that Love Me fell flat at the Sundance Film Festival despite Kristen Stewart and Steven Yeun's performances , not because of them.

Love Lies Bleeding Was A Perfect Example Of A Subversive Romance Movie

Kristen stewart stars opposite twisters' katy o'brian.

Kristen Stewart's Love Lies Bleeding was a perfect subversive romance film because it challenged the traditional love story and won. The narrative drives romance amid a thrilling yet redeeming body horror plot sprinkled with elements of magical realism. Love Lies Bleeding 's shocking moments center on two heroines amid themes of addiction, violence, masculinity, and death. The film skillfully holds all its themes simultaneously, giving every character a chance to be the bad guy. However, the story perpetually leaves room for hope that Lou and Jack will have their happily ever after , too – some distorted and hellbent version of it.

While Love Lies Bleeding reviews understand the film as a triumph, Love Me hasn't received the same love.

Love Lies Bleeding has shocking moments that define the film. The characters fixate on appearances, drugs, sex, and revenge, with their addictions playing out in unpredictable ways that bend reality. Love Lies Bleeding also maintains a central addiction throughout the film: love. Kristen Stewart's Lou and Katy O'Brian's Jackie never kick their addiction to one another. Love Lies Bleeding 's leading women ultimately turn into giants and run off together – not into the sunset but through a blanket of night. As they drive away in Lou's truck, the film maintains its gritty theme of moral ambiguity in Love Lies Bleeding 's ending .

Love Me Is A Risky Follow-Up After Kristen Stewart's Success With Love Lies Bleeding

Love me pushed subversive romance too far.

Love Me is a risky follow-up to Love Lies Bleeding because the film attempted to subvert the romance genre again. That said, where the love between Jackie and Lou feels evident and their chemistry palpable, Love Me failed to deliver on the essential elements of a love story when attempting to turn the genre on its head. While Love Lies Bleeding reviews understand the film as a triumph, Love Me hasn't received the same love. That said, Love Me certainly wasn't a failure for Kristen Stewart. Some of her most unique performances have aged to be some of her best after all.

Love Me and Love Lies Bleeding both made their premiere at the Sundance Film Festival in 2024. Love Me was part of the U.S. Dramatic Competition. In contrast, Love Lies Bleeding debuted in the Midnight category, reserved for "films that will keep you wide awake and on the edge of your seat" (via Sundance Film Festival .) The films kicked off Stewart's year on an emotional high note, regardless of Love Me 's reception. Love Me has yet to be released to a larger audience, so opportunities still exist for the narrative to become beloved despite, or perhaps because of, its premise.

Source: Sundance Film Festival

Love Lies Bleeding

Not available

Love Lies Bleeding is an action crime film from A24. Directed by Rose Glass, Love Lies Bleeding centers on a gym employee, played by Kristen Stewart, and a bisexual bodybuilder (Katy O'Brian) as they discover how difficult the world of competitive bodybuilding is. The film also stars Jena Malone, Anna Baryshnikov, Dave Franco, and Ed Harris.

Love Me (2024)

Love Me is a romantic drama film written and directed by Sam and Andy Zuchero and was released in 2024. Set in a postapocalyptic scenario, the film follows two individuals who meet online and fall in love. However, the nature of their relationship and the world causes them to evaluate what is real - including themselves.

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American Gangster

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Studio Pulls ‘Megalopolis’ Trailer Featuring Fake Review Quotes

To promote Francis Ford Coppola’s epic, the spot used supposed lines from The Times, The New Yorker and others to suggest critics were wrong about him.

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By Annie Aguiar

A new trailer for Francis Ford Coppola’s “ Megalopolis ” featuring fake negative quotes from film critics has been pulled by the movie’s distributor, Lionsgate, a spokesman for the company said Wednesday.

The trailer, which was posted in the morning, featured quotes from well-known film critics of the past including Pauline Kael of The New Yorker, Vincent Canby of The New York Times and Roger Ebert of The Chicago Sun Times panning previous Coppola films like “The Godfather,” “Apocalypse Now” and “Bram Stoker’s Dracula.”

However, as the critic Bilge Ebiri first reported in Vulture , the quotes are not real. The trailer has now been pulled from YouTube, after amassing more than 1.3 million views in the single day it was online.

“Lionsgate is immediately recalling our trailer for ‘Megalopolis,’” a spokesman for the company said in a statement. “We offer our sincere apologies to the critics involved and to Francis Ford Coppola and American Zoetrope for this inexcusable error in our vetting process. We screwed up. We are sorry.”

“Megalopolis,” which was self-financed by Coppola and is due in theaters Sept. 27, was initially unable to find a buyer until Lionsgate stepped in. The epic fantasy premiered to a decidedly mixed reception at the Cannes Film Festival. On Rotten Tomatoes, it stands at just 53 percent fresh among critics. The trailer seemed to be an effort to show that reviews don’t always get it right when it comes to Coppola’s work.

The spot quoted Kael as saying “The Godfather” was “diminished by its artsiness,” when in reality she wrote about it glowingly . While Canby, who served as senior film critic at The New York Times from 1969 to 1993, wasn’t a fan of “Apocalypse Now,” calling it an “ intellectual muddle ,” he didn’t use the phrase “hollow at the core" as the trailer indicates.

The trailer also featured fake quotes from Andrew Sarris in The Village Voice, Stanley Kauffmann in The New Republic, Owen Gleiberman in Entertainment Weekly, and Rex Reed in The New York Observer and The New York Daily News, according to the Vulture report.

John Simon of National Review is also included in the spot, and a writer for the magazine posted on X that the staff was checking the archive but believed it to be false.

It is unclear how the faked quotes were created. Some on social media, speculating that artificial intelligence tools were used, started feeding prompts to ChatGPT looking for similar results.

Lionsgate would not comment on whether ChatGPT or other tools powered by artificial intelligence were used for the trailer.

The pulled trailer was not the first controversy surrounding the film. A report in The Guardian in May quoted anonymous sources accusing Coppola of trying to kiss female extras on the set of a nightclub scene. An executive co-producer, Darren Demetre, has said he was unaware of any harassment complaints made during the production, and Coppola later told The Times , “I’m not touchy-feely,” Coppola said. “I’m too shy.”

Annie Aguiar is a reporter covering arts and culture and a member of the 2024-25 Times Fellowship class, a program for journalists early in their careers. More about Annie Aguiar