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The Untouchables is a Prohibition-era crime film that mixes police procedural and thriller to a satisfying degree. But, of course, complications arise.

In the first part of the film, the social and cultural distinctions between the North Milan and the South Sicily are portrayed beautifully.

From costuming to dialogue, everything is expertly crafted. Pacino turns in an over the top performance in all the right ways. Scorsese said that he was attracted to the idea of making films about him and his friends.

What more would one expect from a Scorsese gangster picture? It tells the story of Mafia crime in the s from two perspectives; the FBI and the mob.

Depp finds a rare balance of emotional depth in playing a dual role as an FBI agent Joseph Pistone who becomes someone new after infiltrating the mob Donnie Brasco.

This is also inspired by a true story which lends a sense of credence and authenticity to the film.

Brad Pitt steals the show as a gypsy prizefighter. This is all packed into minutes of violent crime and rollicking fun. After drawing the ire of the IRA with his business dealings, Cahill is forced to reflect on a lifetime of mischief and crime.

This is an authentic Irish film that portrays authentic Irish crime; such as the crimes of the Catholic church and the corruption of the police.

Cahill is a real Irish gangster played by a real Irish actor. But the differences between the Italian Mafia and the Irish Mob have never been clearer.

But at the heart of the picture, is an important commentary on gangster celebrity. The protagonist Ivan, played by Jimmy Cliff, wants to be a reggae singer but corruption and poverty keep him from success.

Instead, Ivan finds himself enraptured in a life of crime. He becomes infamous for killing police officers.

In turn, his former record label releases his song and reaps the profits of his celebrity. Ivan succumbs to a glorified view of the gangster which ultimately forces his downfall.

The film condemns the gangster lifestyle even more than before. This is also one of the first gangster films to heavily involve the Catholic faith, which would go on to become a major characteristic of Mafia films.

Whereas the former is loud, explosive, and consequential, the latter is quiet, understated, and contextual. Bob Hoskins plays the leader of a British gang that plans to start a partnership with the American Mafia in hopes that he can become a legitimate businessman.

The Long Good Friday is also significant because of its detailed re-creation of Cockney crime. It started a whole sub-movement of art that addressed street life in Los Angeles during this period of rioting and fear.

The film is also a warning to the audience about the effects of gentrification and how institutions proliferate crime to keep people down. This is another field where the criteria are often debated.

Some people think of the best mob movies, when they think about the best gangster films, and never go further than that. Others believe gangster movies are an American invention which is arguably true , and therefore that should be the sole qualifier.

Then you have the more open-ended approach, where you consider potential entries like The Godfather and Menace II Society with equal attention and seriousness.

This is the messiest approach, potentially, since it casts the widest net, and demands an open mind. Gangster movies are also interesting for the way they rarely seem to be concerned with advancements in movie technology.

Some genres are at the forefront of cinematic innovation. Gangster movies benefit from the technical evolution of film, but nothing changes the essential elements of good characters, a strong story, complex subjects, and the likelihood of intense, steady violence.

These movies are a lot slicker than they used to be. At the same time, a movie like Widows draws consistent inspiration from the genre examples that came before it.

All of this is run through an ongoing current that moves alongside the rest of film. In other words, the genre continues to find new and exciting ways to tell such stories.

This list of the best gangster films of all time reflects that with the blunt force of a decidedly cranky Joe Pesci. Gangster movies are a subgenre of crime dramas.

That makes sense, although different gangster movies can approach the crime drama element differently from one another.

Released before the Hays Code was actually enforced, Little Caesar has an intensity in its violence that still sticks with an audience today.

The film also retains its appeal for featuring a star-making performance by Edward G. Robinson, whose mannerisms and voice are still used to depict gangsters to this day.

Watch if: You want to see one of the true original gangster movies. Released the same year as Little Caesar, William A.

The main differences between the two comes down to the way The Public Enemy is perhaps a little flashier and stylized, with Cagney arguably being a little more charismatic than Robinson.

Despite these similarities, The Public Enemy is a legendary entry for its own unique reasons. Despite its age, the film is still more action-packed and thrilling than many of the movies being made today.

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Top 10 Gangster Movies In the Fantasy Sports Online. This is also one of the first gangster films to heavily involve the Catholic faith, which would go on to become a major characteristic Toto Ergebnisse 13 Wette Mafia films. From costuming to dialogue, everything is expertly crafted. Ghosted: Love Gone Missing. Certified Fresh Picks. The Farewell Metropolis

That makes sense, although different gangster movies can approach the crime drama element differently from one another. Released before the Hays Code was actually enforced, Little Caesar has an intensity in its violence that still sticks with an audience today.

The film also retains its appeal for featuring a star-making performance by Edward G. Robinson, whose mannerisms and voice are still used to depict gangsters to this day.

Watch if: You want to see one of the true original gangster movies. Released the same year as Little Caesar, William A.

The main differences between the two comes down to the way The Public Enemy is perhaps a little flashier and stylized, with Cagney arguably being a little more charismatic than Robinson.

Despite these similarities, The Public Enemy is a legendary entry for its own unique reasons. Despite its age, the film is still more action-packed and thrilling than many of the movies being made today.

Watch if: You want to see one of the most exciting bad guys in movie history. Avoid if: You tend to root for the bad guy.

You can argue that the movie is a heist film, as it largely centers on a veteran gambler and reformed bank robber Roger Duchesne being forced into a final score.

The film also got a pretty good remake in with Nick Nolte as Bob. Watch if: You like stylistic gangster movies with a good heist as the centerpiece.

Avoid if: You prefer those sorts of movies to be in English. Quite frankly, the greatest Yakuza movies could fill a list all on their own.

Even just a list of serious contenders for the best gangster films gives us a lengthy marathon of possibility. Beyond a great cast, featuring the likes of Joe Shishido and Koki Nanbara, Branded to Kill is one of the most palpably tense gangster movies of all time.

It builds to something truly unique, while simultaneously depicting an underworld riddled with chaos, greed, and the madness of a cruel industry.

Watch if: You want to see one of the most original gangster movies of all time. What makes Get Carter interesting is the fact that at no point does the movie suggest a path of redemption for the title character.

Jack Carter never fails to act in his own self-interest, even when he goes on a sadistic, understandable spree of revenge against those responsible for the death of his brother.

Get Carter also has a lot to say on the subject of revenge. Unlike Bob le flambeur, the remake of Get Carter should be avoided at all costs.

Watch if: You like your gangster movies to have a believable ugliness about them. Simply understand that despite its stature, this is still a thrilling, well-acted particularly by Al Pacino, Marlon Brando, James Caan, and Diane Keaton epic of crime, revenge, and family.

The Godfather is an essential beginning to any education on the larger subject of gangster movies. Watch if: You want a movie that feels like a jarring travelogue at times.

Avoid if: You think sacrifice is overrated. The debate genuinely rages on. Truthfully, both films complement and enhance one another so flawlessly, they may as well be one story.

Indeed, there is an edit that combines everything into a single viewing experience. If you just want a satisfying, emotionally devastating gangster film, The Godfather Part II accommodates you on that front, as well.

Watch if: You want to see a rare example of a truly perfect sequel. Longer, if you brave the murky, slightly underappreciated waters of Part III.

It is ferocious minutes of Bob Hoskins and Helen Mirren leaving nothing and no one in their wake, as they try to survive a day that seems bound and determined to do them in.

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