Casino

UK Release Date: 23 February 1996

Certification: 18

Director: Martin Scorsese

Cast:  Robert De Niro, Joe Pesci, Kevin Pollak, Don Rickles, Sharon Stone, Frank Vincent, James Woods

Rating: 75%

Review:

Heralding the end of Martin Scorsese's obsession with deteriorating gangsters in a crime filled filmography spanning as far back as Mean Streets in 1973 before delving into a mix of religious epics and traditionalist biopics, Casino feels like a mesh of Scorsese's previous work. There's nothing truly original about the story, certain scenes reminiscent of Goodfellas, but Scorsese ensures that the film remains entertaining. 

There is no doubt that the second and third act of Casino are a riveting watch but in fairness this film takes a while to become truly invested in. A slow introduction beckons the audience to eventually behold the downfall of these characters - making for a tremendous end with a sluggish start. 

Robert De Niro and Joe Pesci completely dominate the screen. It's the physical representation of an unstoppable force meeting an immovable object. Both are completely unhinged. It's near impossible to predict their next move as they spiral out of control due to the uncontrollable obsession with power, control and greed. Do strongly believe that the film would've suited a supporting performance from Paul Newman. 

The soundtrack does an incredible job as always. It encapsulates the ambitious spirit of the film with rock 'n' roll songs of the 60s and 70s. The irreplaceable 'Gimme Shelter' features (it's second appearance of three within his filmography) to unascertainable thrill. Coinciding is Fleetwood Mac's 'Go Your Own Way' adding to the electric tone felt throughout. 

Pastel suits have since became synonymous with the film and the costume work is superb. The sets are cleverly designed utilising the bustle and buzz of a casino to convey the frantic essence of production. 

Despite there being nothing inherently wrong with Casino, I simply didn't connect with the material as much as any other body of work from Scorsese. Maybe that was down to the obsessive use of narration that came across as lazy.