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StickyWilds Casino. Video Slots Bells on Fire. The Lovely Outlaws. Aladdin's Treasure. As the greed, passions and deceptions chip away at Ace and Nicky's boyhood bonds, their dreams threaten to collapse like a house of cards.
They say the odds are never in your favor in Vegas, so one can forgive Scorsese for stacking his deck. I'll admit that in 'Casino' he does borrow, or at least mirror, the visual fireworks that seemed so fresh in 'GoodFellas.
Each is slick, fast-paced, powered by a period soundtrack of classic tunes and filled with enough bravura camera moves for ten other movies.
Yet I remain in the minority of viewers who actually prefer 'Casino' over its more acclaimed cinematic soul brother.
Perhaps it's because, unlike 'GoodFellas,' which focused solely on the rise and fall of Henry Hill, here the spiritual corruption is spread equally between Ace and Nicky.
And Stone, in a career high as Ginger, proves that she's an even better actress when her legs are crossed. Ginger is the powderkeg that ignites a partnership already on the brink of exploding, which for my taste makes 'Casino' a lot more fun and narratively twisty and melodramatic in its excesses than any previous Scorsese flick.
How can you not love a movie that features a point-of-view shot through a cocaine straw? And the only thing more fun than watching one mobster in 'GoodFellas' get his is watching two screw each other over for a hooker and a percentage point.
It's also nice to see Scorsese spicing up his usual boys club with Stone, who again so "sizzles" up the screen that for once the back-of-the-box proclamation isn't mere hyperbole.
Unfortunately, I still have some problems with Scorsese's penchant for onscreen violence. I know, I know, I sound like Michael Medved. Even 'Casino's now-infamous "vice torture" scene notwithstanding, all the bloodletting felt gratuitous long ago.
Rather than gingerly applied a la ''The Godfather' to add the proper Grand Guignol-meets-Italian Opera bravura, or -- as Scorsese himself did so effectively in ' Taxi Driver ' confining it to a single scene of orgiastic release as a legitimate storytelling device, in 'Casino' there seems to be an almost gleeful preoccupation with brutality that I find juvenile an indulgence that also mars 'GoodFellas' and 'Gangs of New York'.
And as great a pair as De Niro and Pesci make onscreen what ever happened to the latter's career, anyway? We know Pesci's Nicky is as fragile as he is psychopathic, and I understood how his self-possession led to his violent outbursts -- I just didn't need to see every one of them.
But even discounting the moments of 'Casino' that I couldn't watch because I was cowering behind my fingertips, I enjoyed the hell out of the rest of it.
It looks great. The film got a nice restoration for standard-def DVD back in , that master serves as the basis for the high-def version. The image looks glittery and glamorous, thanks both to the high-resolution and Robert Richardson's sterling cinematography.
Blacks and strong contrast give the picture real snap, crackle and pop -- I loved watching Scorsese's camera march through the casino floor like that little kid on his big wheel in Kubrick's ' The Shining.
And yes, during that "the muffin has too many blueberries" scene, you can count each one. Colors are excellent, with rich hues solid and free of noise.
Fleshtones are also spot-on, with Sharon Stone never looking more orange and lovely. Sure, I could complain -- some scenes are a bit overly-contrasted with bloomy whites, and shadow delineation can suffer ever-so-slightly due to crushed blacks.
But this is minor stuff -- in terms of picture quality, 'Casino' hits the jackpot on Blu-ray. Because he's considered such a visual stylist, it's often overlooked how expertly Martin Scorsese also assembles the soundtracks to his films.
More than just the composer he selects or the "songtracks" he creates, the way Scorsese combines and balances the various sonic elements is truly craftsman-like.
Though it may not be overpowering like a big action flick, 'Casino' is so finely-attuned it is worth considering as demo material for those who appreciate subtlety over bombast in their home theater soundtracks.
The upgrade is a fair one. I was surprised at how full-bodied and spacious dynamics were the last time around, but here the high-end is a tad brighter and mid-range fuller.
The film particularly comes alive in the casino scenes, from the clear and sparkly highs no distortion or tinniness here to the deep low bass. Surround activity remains flush with sustained ambiance, which is slightly more robust on the DTS-MA.
Discrete sounds are frequently directed to individual speakers with seamless pans, and great use of songs helps to create a strong degree soundfield.
Quieter moments in the film still feel front-directed, but there remains subtle use of atmosphere which is wonderfully well-modulated and subtle.
Dialogue is also perfectly balanced in the mix. This isn't a big-budget action movie, but 'Casino' still delivers audio that is perfectly suited to the material.
Here we go again. Per its recent trend, Universal has cut up much of the making-of material found on the HD DVD of 'Casino' and repurposed it as a Blu-ray-exclusive picture-in-picture commentary.
This time, the featurettes found on the very spiffy anniversary DVD re-issue of 'Casino' are now ported over to the exclusive section below, which leaves the standard suite of extras feeling a bit undernourished by comparison.
This fresh Blu-ray version is the equal to the previous HD DVD in terms of video, and even better with audio thanks to the inclusion of a high-res track.
I'm still not entirely sold on Universal's obsession with repackaging the old extras as cobbled-together picture-in-picture exclusives, but at least the content is here in some form.
Bottom line, 'Casino' on Blu-ray is well recommended.