goodfellas movie review rotten tomatoes

For two days after I saw Martin Scorsese’s new film, “GoodFellas,” the mood of the characters lingered within me, refusing to leave. It was a mood of guilt and regret, of quick stupid decisions leading to wasted lifetimes, of loyalty turned into betrayal. Yet at the same time there was an element of furtive nostalgia, for bad times that shouldn’t be missed, but were.

Most films, even great ones, evaporate like mist once you’ve returned to the real world; they leave memories behind, but their reality fades fairly quickly. Not this film, which shows America’s finest filmmaker at the peak of his form. No finer film has ever been made about organized crime – not even “ The Godfather ,” although the two works are not really comparable.

“GoodFellas,” scheduled to open Sept. 21 in Chicago, is a memoir of life in the Mafia, narrated in the first person by Henry Hill ( Ray Liotta ), an Irish-Italian kid whose only ambition, from his earliest teens, was to be a “wise guy,” a Mafioso. There is also narration by Karen, the Jewish girl ( Lorraine Bracco ) who married him, and who discovered that her entire social life was suddenly inside the Mafia; mob wives never went anywhere or talked to anyone who was not part of that world, and eventually, she says, the values of the Mafia came to seem like normal values. She was even proud of her husband for not lying around the house all day, for having the energy and daring to go out and steal for a living.

There is a real Henry Hill, who disappeared into the anonymity of the federal government’s witness protection program, and who over a period of four years told everything he knew about the mob to the reporter Nicholas Pileggi , whose Wiseguy: Life in a Mafia Family was a best-seller. The screenplay by Pileggi and Scorsese distills those memories into a fiction that sometimes plays like a documentary, that contains so much information and feeling about the Mafia that finally it creates the same claustrophobic feeling Hill’s wife talks about: The feeling that the mob world is the real world.

Scorsese is the right director – the only director – for this material. He knows it inside out. The great formative experience of his life was growing up in New York’s Little Italy as an outsider who observed everything – an asthmatic kid who couldn’t play sports, whose health was too bad to allow him to lead a normal childhood, who was often overlooked, but never missed a thing.

There is a passage early in the film in which young Henry Hill looks out the window of his family’s apartment and observes with awe and envy the swagger of the low-level wise guys in the social club across the street, impressed by the fact that they got girls, drove hot cars, had money, that the cops never gave them tickets, that even when their loud parties lasted all night, nobody ever called the police.

That was the life he wanted to lead, the narrator tells us. The memory may come from Hill and may be in Pileggi’s book, but the memory also is Scorsese’s, and in the 23 years I have known him, we have never had a conversation that did not touch at some point on that central image in his vision of himself – of the kid in the window, watching the neighborhood gangsters.

Like “The Godfather,” Scorsese’s “GoodFellas” is a long movie, with the space and leisure to expand and explore its themes. It isn’t about any particular plot; it’s about what it felt like to be in the Mafia – the good times and the bad times. At first, they were mostly good times, and there is an astonishing camera movement in which the point of view follows Henry and Karen on one of their first dates, to the Copacabana nightclub. There are people waiting in line at the door, but Henry takes her in through the service entrance, past the security guards and the off-duty waiters, down a corridor, through the kitchen, through the service area and out into the front of the club, where a table is literally lifted into the air and placed in front of all the others so that the young couple can be in the first row for the floor show. This is power.

Karen doesn’t know yet exactly what Henry does. She finds out.

The method of the movie is a slow expansion through levels of the Mafia, with characters introduced casually and some of them not really developed until later in the story. We meet the don Paul Cicero ( Paul Sorvino ), and Jim (Jimmy the Gent) Conway ( Robert De Niro ), a man who steals for the sheer love of stealing, and Tommy DeVito ( Joe Pesci ), a likable guy except that his fearsome temper can explode in a second, with fatal consequences. We follow them through 30 years; at first, through years of unchallenged power, then through years of decline (but they have their own kitchen in prison, and boxes of thick steaks and crates of wine), and then into betrayal and decay.

At some point, the whole wonderful romance of the Mafia goes sour for Henry Hill, and that moment is when he and Jimmy and Tommy have to bury a man whom Tommy kicked almost to death in a fit of pointless rage. First, they have to finish killing him (they stop at Tommy’s mother’s house to borrow a knife, and she feeds them dinner), then they bury him, then later they have to dig him up again. The worst part is, their victim was a “made” guy, a Mafioso who is supposed to be immune. So they are in deep, deep trouble, and this is not how Henry Hill thought it was going to be when he started out on his life’s journey.

From the first shot of his first feature, “ Who's That Knocking at My Door? ” (1967), Scorsese has loved to use popular music as a counterpoint to the dramatic moments in his films. He doesn’t simply compile a soundtrack of golden oldies; he finds the precise sound to underline every moment, and in “GoodFellas,” the popular music helps to explain the transition from the early days when Henry sells stolen cigarettes to guys at a factory gate, through to the frenetic later days when he’s selling cocaine in disobedience of Paul Cicero’s orders, and using so much of it himself that life has become a paranoid labyrinth.

In all of his work, which has included arguably the best film of the 1970s (“ Taxi Driver “) and of the 1980s (“ Raging Bull “), Scorsese has never done a more compelling job of getting inside someone’s head as he does in one of the concluding passages of “GoodFellas,” in which he follows one day in the life of Henry Hill, as he tries to do a cocaine deal, cook dinner for his family, placate his mistress and deal with the suspicion that he’s being followed.

This is the sequence that imprinted me so deeply with the mood of the film. It’s not a straightforward narrative passage, and it has little to do with plot; it’s about the feeling of walls closing in, and the guilty feeling that the walls are deserved. The counterpoint is a sense of duty, of compulsion; the drug deal must be made, but the kid brother also must be picked up, and the sauce must be stirred, and meanwhile, Henry’s life is careening wildly out of control.

Actors have a way of doing their best work – the work that lets us see them clearly – in a Scorsese film. Robert De Niro emerged as the best actor of his generation in “Taxi Driver.” Joe Pesci, playing De Niro’s brother in “Raging Bull,” created a performance of comparable complexity. Both De Niro and Pesci are here in “GoodFellas,” essentially playing major and very challenging supporting roles to Ray Liotta and Lorraine Bracco, who establish themselves here as clearly two of our best new movie actors. Liotta was Melanie Griffith’s late-arriving, disturbingly dangerous husband in “ Something Wild ,” and here he creates the emotional center for a movie that is not about the experience of being a Mafioso, but about the feeling. Bracco was the cop’s wife from out in the suburbs in “ Someone To Watch Over Me ,” a film in which her scenes were so effective that it was with a real sense of loss that we returned to the main story. The sense of their marriage is at the heart of this film, especially in a shot where he clings to her, exhausted. They have made their lifetime commitment, and it was to the wrong life.

Many of Scorsese’s best films have been poems about guilt.

Think of “ Mean Streets ,” with the Harvey Keitel character tortured by his sexual longings, or “ After Hours ,” with the Griffin Dunne character involved in an accidental death and finally hunted down in the streets by a misinformed mob, or think of “ The Last Temptation of Christ ,” in which even Christ is permitted to doubt.

“GoodFellas” is about guilt more than anything else. But it is not a straightforward morality play, in which good is established and guilt is the appropriate reaction toward evil. No, the hero of this film feels guilty for not upholding the Mafia code – guilty of the sin of betrayal. And his punishment is banishment, into the witness protection program, where nobody has a name and the headwaiter certainly doesn’t know it.

What finally got to me after seeing this film – what makes it a great film – is that I understood Henry Hill’s feelings. Just as his wife Karen grew so completely absorbed by the Mafia inner life that its values became her own, so did the film weave a seductive spell. It is almost possible to think, sometimes, of the characters as really being good fellows. Their camaraderie is so strong, their loyalty so unquestioned. But the laughter is strained and forced at times, and sometimes it’s an effort to enjoy the party, and eventually, the whole mythology comes crashing down, and then the guilt – the real guilt, the guilt a Catholic like Scorsese understands intimately – is not that they did sinful things, but that they want to do them again.

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.

• Ray Liotta as Henry Hill
• Robert De Niro as James Conway
• Joe Pesci as Tommy Devito
• Lorraine Bracco as Karen Hill

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Men who love crime. We hate them in real life but we love them in films. There's something about on-screen gangsters that appeal to movie lovers. Sadly, most of these gangsters existed in the real world and they caused plenty of havoc. But we aren't here to play judge, jury, and executioner. We are just here to enjoy movies.

RELATED:  The 5 Most Historically Accurate (And 5 Most Inaccurate) Gangster Movies Ever Made

Plenty of gangster movies have been made over the last century. Plenty of them have been good but sadly not all of them were perfectly made. According to Rotten Tomatoes, the following films are as close to perfection as it gets. Honorable mentions go to the likes of The Departed and Bugsy  for narrowly missing out.

Pulp Fiction (1994) - 93%

Pulp Fiction  has many iconic moments, the most popular one being John Travolta's dance scene. He could have easily won Dancing With The Stars with those moves. In fact, the scene was so good that Quentin Tarantino recreated it in his most recent film Once Upon A Time In Hollywood . Sorry, Di Caprio, you tried, but Travolta's dance remains the best.

The Travolta of the '90s was untouchable. With his performance in this film, he got a Best Actor nomination at the 1995 Academy Awards. Samuel L. Jackson also proved to the world that he was a gifted actor who should be taken very seriously. Everyone has adored Nick Fury ever since. You are amazing Nick. Sorry. We mean Sam. You are amazing Sam.

The Long Good Friday (1982) - 96%

In The Long Good Friday , Harold Shand is riding high as London's top gangster. He fully controls the docks through which most illegal shipments enter the country. He also owns a yacht and resides in a beautiful penthouse with his mistress.

However, one Easter weekend, his fortune takes a hit when both his Rolls Royce and his pub get bombed. A bomb is also found in his casino before it blows up. Shand is thus left in a dilemma because his empire is now in shambles, his life is in danger and members of an American crime family are also coming to town to discuss a business deal with him.

Goodfellas (1990) - 96%

With quotes such as Joe Pesci's "What do you mean I'm funny? I'm funny how? Do I amuse you? I am I a clown to you?" it's no surprise that this film ranks highly. Based on Wiseguy , the best-selling novel by Nicolas Pileggi, Goodfellas tells the story of mobster and eventual FBI informant aka 'rat' Henry Hill (Ray Liotta). In fact, the movie almost went by the name Wiseguys before it was eventually changed to Goodfellas . Great choice.

RELATED:  10 Gangster Movies You Need To Watch That Aren't By Martin Scorsese

In Goodfellas , Hill is a half-Irish and half-Sicilian New York youngster who idolizes the criminals in his neighborhood known as the wise guys. He begins doing errands for them and eventually gets their trust. Together with his friend Tommy (Joe Pesci), he quickly rises up the ranks. However, he quickly learns that like other Irish-Italians before him, including Jimmy (Robert DeNiro), he can never become one of the top guys.

A Prophet (2009) - 97%

Hollywood movies tend to get the most press but outside the US, there tend to be other movies that are equally as compelling. Take A Prophet (Un Prophete) for example. With a solid 97% score, it beats all of Tarantino's films. Where are the Oscars?

A Prophet traces the life of Malik El Djebena, a 19-year-old man who is sentenced to 30 years in prison and cannot read or write. As a younger convict, he is bullied by a gang leader. However, the gang leader begins to like him, given the way he efficiently handles tasks. He quickly becomes influential behind bars while also cooking up his own devious plans.

Mean Streets (97%) - 1973

It looks like we might have a case of one smart kid taking all the top spots. Another Martin Scorsese movie ranks highly in the gangsters' corner on Rotten Tomatoes. De Niro was here too. My God! These two love each other too much.

Mean Streets follows Charlie, a young man who wants to be a respectable and feared gangster just like his favorite uncle. In as much as he wants to strengthen his position in the underworld and move out of his impoverished neighborhood with his girlfriend, things end up becoming a little more complicated than he thought.

White Heat (1949) - 97%

Widely regarded as one of the best gangster movies of all time, White Heat has inspired many other movies. The United States Library of Congress added it to the National Film Registry in 2003, labeling it "culturally, historically, or aesthetically significant."

RELATED: 10 Great Gangster Movies To Watch If You Love The Sopranos

White Heat is about a mobster who happens to be a mommy's boy. Despite being married to a beautiful woman named Verna, Cody, the psychotic leader of the Jarrett gang, remains too attached to his mother. In fact, his last words before he is killed are "Made it, Mum! Top of the world!" Goodness!

The French Connection (1971) - 98%

The 70s were the years during which gangster flicks scooped all the awards. The French Connection won five Oscars, including Best Actor for Gene Hackman, Best Picture and Best Adapted Screenplay. The film is based on Robin Moore's novel of the same name. So, what's it about?

Narcotics are streaming into New York City in large volumes, so two police detectives Jimmy "Popeye" Doyle and Buddy Russo set themselves on a mission to track down the source. It turns out that French drug Kingpin Suave Alain Charnier is the supplier. But with a wide network of associates and a ruthless right-hand man like Pierre Nicoli, taking him down proves to be very difficult.

The Godfather (1972) - 98%

Before he disappeared into oblivion and later resurfaced to call Marvel movies despicable, Francis Ford Copolla made amazing movies like this. The Godfather is easily the best gangster movie of the New Hollywood Era. It simply has no competition. Everything about it from the cinematography to the acting was perfect.

Even though Marlon Brando used a weird accent, like a piece of steak was stuck in his throat, his performance as Don Vito Corleone remains legendary. Al Pacino's performance as Michael Corleone also remains his best to date. *spoilers* The scene where he murders Virgil "The Turk" Solozzo for shooting his father remains one of the best moments in the history of cinema.

The Public Enemy (1934) - 100%

Forget the Michael Mann film starring Johnny Depp as Great Depression Era gangster John Dillinger. There was another film sharing a similar name, only in the singular form. And it was better, much better. Critics unanimously agreed that it didn't have a single flaw.

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The Public Enem y tells the story of another Prohibition Era gangster called Tom Powers. The movie begins by showing how Tom's environment corrupted him a child. He had access to a beer hall, pool, and plenty of bad friends As he degenerates into a ruthless lowlife, his mother still believes that he is a good boy. She only discovers who he really is when he has become a proper gangster who is too grown to be corrected.

Angels With Dirty Faces (1938) - 100%

This is the movie that inspired the fake gangster film-inside-film that Kevin McCallister used to scare gangsters in Home Alone . In the popular comedy, Kevin uses the dialogue of a film called Angels With Filthy Souls to scare the Wet Bandits. Many thought it was not a real film but it was specifically made for that movie.

In Angels With Dirty Faces , two young pals called Rocky and Jerry commit a robbery. Jerry manages to escape but Rocky gets captured. As punishment, Rocky gets sent to a reform school. Jerry changes his ways and becomes a preacher when he grows up. However, Rocky ends up becoming a proper criminal. When fate brings the two former friends together, their worlds are turned upside down.

NEXT:  The 10 Worst Gangster Movies Ever Made, According To Rotten Tomatoes

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‘Goodfellas’: Film Review

By Joseph McBride

Joseph McBride

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Simultaneously fascinating and repellent, “ Goodfellas ” is Martin Scorsese ‘s colorful but dramatically unsatisfying inside look at Mafia life in 1955-80 New York City. Commercial prospects for the overlong release appear relatively modest, and noisy bloodletting is likely to take place between warring critical camps.

Scorsese’s intent here, to show how a life of brutal crime could look compelling to an Irish-Italian kid whose sordid upbringing hasn’t prepared him for anything better, is undercut by the offputting, opaque characterization of Ray Liotta. Sympathy is not the issue here, empathy is.

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The second half, however, doesn’t develop the dramatic conflicts between the character and the milieu that are hinted at earlier. The effect is simply to keep piling on and intensifying Liotta’s horrific and ultimately numbing descent into depravity.

Working from the non-fiction book “Wiseguy” by Nicholas Pileggi, who collaborated with him on the screenplay, Scorsese returns to the subject matter of his 1973 “Mean Streets” but from a more distanced, older, wiser and subtler perspective.

Liotta starts as a gofer for laconic neighborhood godfather Paul Sorvino, gradually coming under the tutelage of Robert De Niro , cast as a middle-aged Irish hood of considerable ruthlessness and repute.

The often misplaced dramatic thread is the question of whether Liotta will adhere to his mentor’s early lesson of never ratting on his fellow mobsters.

The character’s split ethnic identity never comes clearly into focus, whether as a tragic figure like Al Pacino in “ The Godfather ” or as an unabashed psychopath like the title characters in “The Krays,” recent Brit pic.

Liotta develops a flashy, pretty-boy persona that overcomes the inadequately dramatized misgivings of Lorraine Bracco, who plays a Jewish girl drawn into the life of a Mafia wife. “I gotta admit the truth, it turned me on,” she tells the audience after Liotta viciously beats up someone who made a pass at her.

“Goodfellas” seems to be building up to a change of heart by Liotta about what he’s becoming, and to a violent break with Bracco. But both options are by-passed as the pic shows Liotta emerging from jail in 1974 to become a cocaine dealer with Bracco’s enthusiastic help and against the orders of the old-fashioned Sorvino.

Sorvino’s scruples recall those of Marlon Brando in “The Godfather,” but since “Goodfellas” doesn’t share the “Godfather” films’ examination of the Mafia’s evolution in reaction to social injustice, the conflict has no weight and Scorsese misguidedly abandons his focus on the mob community to tell the unrewarding story of a lone wolf.

The film’s style in the second half turns into a frenetic, feverish mimicry of the wasted-looking Liotta’s coked-up mental state. De Niro, who’s in the process of sealing his own destruction by eliminating fellow participants in a big heist, goes along with the new economics of crime, and Liotta winds up having to choose in a pinch between freedom and loyalty.

One of the film’s major flaws is that De Niro, with his menacing charm, always seems more interesting than Liotta, but he isn’t given enough screen time to explore the relationship fully in his top-billed supporting role.

All tech contributions are first-rate, particularly the lensing by Michael Ballhaus and production design by Kristi Zea, who manage to make the film look bright and alluring while still capturing the slimy bad taste of the milieu.

Thelma Schoonmaker’s always masterful editing is taut in the first half, but the film rambles seriously after that, wearing out its interest at least half an hour before it’s over.

1990: Best Supp. Actor (Joe Pesci).

Nominations: Best Picture, Director, Supp. Actress (Lorraine Bracco), Adapted Screenplay, Editing

• Production: Warner. Director Martin Scorsese; Producer Irwin Winkler; Screenplay Nicholas Pileggi, Martin Scorsese; Camera Michael Ballhaus; Editor Thelma Schoonmaker; Art Director Kristi Zea. Reviewed at Raleigh Studios, Los Angeles, Aug. 30, 1990. (In Venice Film Festival, competing.) MPAA Rating: R.
• Crew: (Color) Available on VHS, DVD. Original review text from 1990. Running time: 146 MIN.
• With: James Conway - Robert De Niro Henry Hill - Ray Liotta Tommy De Vito - Joe Pesci Karen Hill - Lorraine Bracco Paul Cicero - Paul Sorvino Frankie Carbone - Frank Sivero Sonny Bunz - Tony Darrow Frenchy - Mike Starr Billy Batts - Frank Vincent Morris Kessler - Chuck Low Tuddy Cicero - Frank DiLeo Young Henry - Christopher Serrone

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