Twenty-something Richard travels to Thailand and finds himself in possession of a strange map. Rumours state that it leads to a solitary beach paradise, a tropical bliss - excited and intrigued, he sets out to find it.
Having seen his father killed in a major gang fight in New York, young Amsterdam Vallon is spirited away for his own safety. Some years later, he returns to the scene of his father's death, the notorious Five Points district in New York. It's 1863 and lower Manhattan is run by gangs, the most powerful of which is the Natives, headed by Bill "The Butcher" Cutting. He believes that America should belong to native-born Americans and opposes the waves of immigrants, mostly Irish, entering the city. It's also the time of the Civil War and forced conscription leads to the worst riots in US history. Amid the violence and corruption, young Vallon tries to establish himself in the area and also seek revenge over his father's death. Written by
When Boss Tweed is talking to Bill, Bill says to him, "I know your works. You are neither cold nor hot. So because you are lukewarm, I will spew you out of my mouth." Though not attributed, this is from the Bible (Revelations 3:15-16). See more »
Amsterdam wipes blood from the wrong side of his neck as he and Jenny walk down the street after the scene where she had a knife to his neck. See more »
[speaking of Bill the Butcher]
When I was twelve years old, my mother was dead, and I was livin' in a doorway. He took me in. Took care of me, in his way. After they cut out the baby... well, he doesn't fancy girls that's scarred up. But you might as well know in your own mind that he never laid a hand on me until I asked him to.
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Miramax Films and Touchstone Pictures logos are much different and larger than the normal logos and evoke a 1930s black and white style. See more »
An overlong, highly episodic excuse for some burlesque and indulgent violence masquerading part-time as a film of historical interest and validity. With Leonardo scowling, Diaz giggling and Day Lewis doing his best De Niro, this film takes itself far too seriously for the leaden-handed and juvenile treatment of a story which seems suspect the moment you think about it. Its a shame to see a director with such a great track-record try so hard to convince us that he's still 'got it'. Couldn't he have left this drekk to Jerry Bruckheimer?
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