A young and impatient stockbroker is willing to do anything to get to the top, including trading on illegal inside information taken through a ruthless and greedy corporate raider who takes the youth under his wing.
A story about a troubled boy growing up in England, set in 1983. He comes across a few skinheads on his way home from school, after a fight. They become his new best friends even like family. Based on experiences of director Shane Meadows.
The future is set for Tony and Michael - owning a neighbour- hood bar and making deals in the mean streets of New York city's Little Italy. For Charlie, the future is less clearly defined. A small-time hood, he works for his uncle, making collections and reclaiming bad debts. He's probably too nice to succeed. In love with a woman his uncle disapproves of (because of her epilepsy) and a friend of her cousin, Johnny Boy, a near psychotic whose trouble-making threatens them all - he can't reconcile opposing values. A failed attempt to escape (to Brooklyn) moves them all a step closer to a bitter, almost preordained future. Written by
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The voice over narration in the opening of the movie ("You don't make up for your sins in Church; you do it on the street; everything else is bullshit and you know it...") is actually not said by Harvey Keitel (the character we are intended to believe is thinking these thoughts), but director Martin Scorsese. Scorsese felt that using a separate voice to make the distinction between Keitel's thoughts and actions was necessary. Scorsese borrowed this technique from Federico Fellini, who used it in I Vitelloni (1953). See more »
When the group is in the car and the old guy is cleaning the car's windshield, after they pull away, the old guy is nowhere around, although there was no time for him to disappear. See more »
This film has been overshadowed with all the praise heaped on other Martin Scorcese/Robert De Niro films, but this is a classic which is as good as Casino or Goodfellas. It's more rough around the edges and less tightly plotted than those films, but less cold hearted, and De Niro and Keitel are amazing in these early roles. The sense of tension and danger towards the end, when the situation is spinning out of control, is done perfectly. You can see the influence of this in the films of Danny Boyle and especially Quentin Tarantino. A must for Scorcese/De Niro fans.
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