Mickey Rourke has thrown another blow at his 30-year fight with Robert De Niro, threatening to “embarrass” the “Irish” star over a quote from his spokesman last year.
“Hello Robert De Niro,” Rourke wrote in an Instagram post on Friday. “That’s right, I’m talking to you, big crybaby. Recently, a friend of mine told me that a few months ago they quoted you saying to the newspapers ‘Mickey Rourke is a liar and speaks all kinds of s-‘ “.
In September, Rourke said on an Italian talk show that Martin Scorsese wanted to meet him to participate in “The Irishman,” but the discussion was suspended when De Niro refused to work with him. Those comments were quickly received with a statement from De Niro’s representatives that Rourke “was never asked to be in ‘The Irishman’ nor was he thought, discussed or considered to be in the film.”
Also read: ‘The Irishman’: this is how many times Al Pacino says ‘C – sucker’
“Listen to Mr. Tough Guy in the movies, you are the first person to call me a liar and it was in a newspaper,” Rourke wrote in the Instagram post. “Let me tell you something, asshole, when I see you I swear to God on my grandmother, on my brother and all my dogs, I will totally embarrass you 100% [sic]. “
He signed the publication, “Mickey Rourke, since God is my witness.”
Rourke and De Niro have been at odds since an alleged snub on the set of the 1987 movie “Angel Heart”. Rourke described the incident in the 2019 talk show interview and said he admired De Niro as an actor before working together.
“Now I don’t admire him anymore; I look through it, ”he said. “I left the s-. He does not know that life. I lived that life, so every time I look at his face, I look through his hole.
Martin Scorsese crime movies ranked, from ‘Boxcar Bertha’ to ‘The Irishman’ (Photos)
Martin Scorsese has made 25 narrative feature films, and only eight of them have been about people living a criminal lifestyle. However, when we think of their work, we think of gangsters. Not Alice (who no longer lives here), not Christ (and his latest temptation), but sages in fancy suits who break the law, look good doing it, and always end up dead, miserable, or both.
Probably because Scorsese, who grew up in New York City and knows the culture intimately, brings a specificity to his crime movies that coincides with his well-known behind-the-scenes virtuosity. You may have made more movies on other topics than criminals, but it helped define how we view crime on screen. And he keeps coming back to the subject, over and over again, to refine his techniques and tackle similar subjects from entirely new angles.
Let’s take a look at all the Scorsese movies that can safely be called “crime” movies, and see how they compare to each other, which ones are really essential:
Netflix
8. “Boxcar Bertha” (1972)
Martin Scorsese’s first crime movie, and his second feature film, star Barbara Hershey as the young namesake of the Great Depression, whose boyfriend Big Bill (David Carradine) tries to start a rail union. But when the law turns them into criminals, they decide to play the part and really steal from the wealthy. Hershey is great, and so is Bernie Casey as his most worthy partner in crime, but the subtle character work and commentary on racism, sexism, and economic disparity of the 1930s are lost in the eerie violence and sensuality that producer Roger Corman demanded of his exploitative cinema in the 1970s. “Boxcar Bertha” is at war with himself, and while Scorsese’s work was undoubtedly promising, it is a war that no one wins.
Photo from American International Pictures / Getty Images
7. “Gangs of New York” (2002)
Possibly Scorsese’s most epic production, with elaborate ensembles recreating mid-19th century New York City, “Gangs of New York” stars Leonardo DiCaprio as Amsterdam Vallon, a thief approaching the bustling gangster Bill “The Butcher “Cutting (Daniel Day-Lewis), the man who killed Amsterdam’s father. The gigantic Scorsese film is a masterpiece of vintage detail, from sets to costumes and painstakingly recreated accents with vintage precision. Unfortunately, the story is lost in the entire investigation; The secondary plots of the film are more captivating than Amsterdam’s relationship with Bill, in which the entire film supposedly hangs. Daniel Day-Lewis and most of the film’s supporting cast seem to fully inhabit this vibrant ancient world, with expansive performances that could be straight out of a silent movie. In contrast, the relatively contemporary acting styles of DiCaprio and his co-star Cameron Díaz make them look like they’ve entered another movie.
Touchstone Images
6. “The Irishman” (2019)
Scorsese’s biographical film about Frank “The Irishman” Sheeran, the man who allegedly killed Jimmy Hoffa, is a panoramic gangster epic unlike any of his other panoramic gangster epics. Robert De Niro plays Frank, who develops a close relationship with mobster Russell Bufalino (Joe Pesci) and Hoffa (Al Pacino) over many years, while briefly changing his family and achieving nothing more than a body count. . “The Irishman” gets to the point where all the other gangster movies would end, then continues, as these powerful sages wither and die, giving all of Scorsese’s contribution to the gangster genre a fitting, thoughtful and melancholic ending. But while the movie is designed to play like the ramblings of an old man, arguably it does that job too well, and sometimes struggles to justify its colossal runtime.
Netflix
5. “The deceased” (2006)
Scorsese’s remake of Andrew Lau and Alan Mak, Hong Kong’s classic and impressive “Infernal Affairs”, is huge and sloppy, but never less than fascinating. Leonardo DiCaprio plays Billy Costigan, a cop sent undercover with Boston demonic mobster Frank Costello, played by Jack Nicholson. What Costigan doesn’t realize is that Costello has his own sleeping agent, Colin Sullivan (Matt Damon), who has infiltrated the task force that is looking for Costello. The plot becomes more complicated and fascinating when Costigan and Sullivan are assigned to eradicate the mole in both organizations, forcing them to pursue each other, and themselves. Scorsese keeps the difficult story easy to follow, and Jack Nicholson delivers an iconic performance, with Vera Farmiga, Alec Baldwin, and Oscar nominee Mark Wahlberg coming off the screen with memorable supporting twists. “The Departed” isn’t Scorsese’s richest gangster movie, but it can be the most exciting.
Warner Bros.
4. “Bad Streets” (1973)
Harvey Keitel and Robert De Niro have major roles in Scorsese’s first film about Italian-American gangsters, a free-flowing life drama about low-level thugs balancing friendship, romance, and minor scams in New York City in the 1960s. Keitel plays Charlie, a young mobster who struggles to balance the lifestyle he loves with his Catholic upbringing, versus De Niro as Johnny Boy, the carefree firecracker who has debts throughout the city and a list every growing number of enemies. Charlie tries to keep Johnny Boy out of trouble, but may be unable to prevent this coming-of-age story from turning into a bitter tragedy. The Scorsese film is so dense with incidental detail that you don’t seem to be seeing these moments; It feels like you’ve fallen for them, and the eclectic soundtrack and clever camera work make even lazy afternoons at the bar with friends explode like fireworks.
Warner Bros.
3. “The Wolf of Wall Street” (2013)
The white collar crime is filmed with all the overwhelming zeal of an epic gangster violence in Scorsese’s hilarious and bitter biopic about stock scammer Jordan Belfort. Leonardo DiCaprio offers a masterly and strangely physical performance like Belfort, who stole millions and millions and is not treated like a gangster because he never aimed at anyone’s head, although obviously he should. “The Wolf of Wall Street” is a savage and cruel condemnation of a system that rewards the despicable, while unequivocally admitting the brilliant appeal of Belfort’s path to moral dissolution. DiCaprio delivers his best, funniest and most intriguing performance as Belfort, while Margot Robbie dazzles in her turn as his wife, Naomi.
Paramount pictures
2. “Casino” (1995)
Scorsese’s exposition of the Las Vegas criminal underworld is not one of his typical tales of morality: it’s jarring and heightened, and he never seems to breathe (like Vegas), and his story doesn’t end as being beaten to death suddenly. Robert De Niro plays “Ace” Rothstein, a gambling expert who has taken over the reins of his own casino, Tangier, while his childhood friend Nicky Santoro (Joe Pesci) takes over the violent crime throughout of the strip, and his wife Ginger (Sharon Stone) gradually dissolves into depression and drug abuse because Ace won’t let her go. The “Casino” is overkill on all levels of filmmaking, but Scorsese keeps it focused, employing dazzling imagery and dazzling editing to convey Las Vegas’ grotesque concerns with all the majesty that cinema allows.
Universal tables
1. “Goodfellas” (1990)
Since Henry Hill can remember, he always wanted to be a gangster. Scorsese’s masterpiece follows young Hill from his early days as a street swindler to the inner circles of the mafia, in utter despair and decline, and then in limbo. Like Hill, Ray Liotta captures the stain and slime of criminal excess, while Joe Pesci’s triggering temperament offers a constant reminder that every moment of this seemingly attractive lifestyle could lead directly to his own murder, just seconds later. . Captivating cinematography (by Michael Ballhaus) captures the shine, while the film expands and contracts to show how fleeting success can be and how endless your last day as a free man feels. Revealing, heartfelt, beautiful and cruel, “Goodfellas” is the ultimate Scorsese experience.
Warner Bros.
Where is “The Irishman” in his work of evil doing bad things?
Martin Scorsese has made 25 narrative feature films, and only eight of them have been about people living a criminal lifestyle. However, when we think of their work, we think of gangsters. Not Alice (who no longer lives here), not Christ (and his latest temptation), but sages in fancy suits who break the law, look good doing it, and always end up dead, miserable, or both.
Probably because Scorsese, who grew up in New York City and knows the culture intimately, brings a specificity to his crime movies that coincides with his well-known behind-the-scenes virtuosity. You may have made more movies on other topics than criminals, but it helped define how we view crime on screen. And he keeps coming back to the topic, over and over, to refine his techniques and tackle similar topics from entirely new angles.
Let’s take a look at all the Scorsese movies that can safely be called “crime” movies, and see how they compare to each other, which ones are really essential:
