I’m guilty of not reading Carl Nicita’sbook which kicked this whole thing off…but I plan to remedy that as soon as humanly possible. Because, from the campaign art (pictured above), I thought I might be in for the stock standard gangster offering. I’d already swallowed the hook, ’cause like directorRickey Bird Jr. told me, “That’s a great title,” and indeed it is. Still, as is often the case with the gigantic strides being taken in the field of low budget film-making nowadays, like Transformers, they are increasingly becoming more than meets the eye.
What happens in Vegas, doesn’t always stay in Vegas. So when Jack King (Joe Raffa, “Portal”, “Dark Harbor”) decides to try his luck at a blackjack tournament – with a little somethin’ on the side to handle for his mob boss Uncle Vinny, Vincent Pastore(HBO’s “The Sopranos”) , this tale transforms into a vodka martini shaken by an earthquake and stirred by a maelstrom. Jack’s Vegas weekend descends from one hell to the next when he is targeted by the mob after his girlfriend witnesses a murder
“Booze, Broads and Blackjack,” received a release on Amazon Prime Video on July 24th, 2020 in the United States and United Kingdom after racking up several awards despite being sidelined by COVID-19. The mob thriller, nominated for Best Picture in both the Los Angeles and New York Film Awards, won Best Crime Film in both festivals. In the Actors Awards Los Angeles 2020 competition – Pastore was nominated as Best in the ‘Fest and garnered Best Actor in a Crime Film. Co-star Sarah French (“Rootwood”) won Best Actress in a Crime Film.
The film was produced by a joint venture between Film Regions International (FRI) the company behind the acclaimed groundbreaking documentary “My Amityville Horror” Hectic Films Productions, best known for “Machine Gun Baby” and Good Knight Productions.
In addition to Pastore, Raffa and French, the film also stars Felissa Rose (“Sleepaway Camp”), Vincent M. Ward (AMC’s “The Walking Dead”) and James Duval (“Independence Day”, “Donnie Darko”).
The film is available on Amazon Prime Video for rental or purchase and will also receive subsequent VOD platforms to follow in the near future.
It’s crazy to think that later this month, Casino will be turning 20 years old. I’ve seen this film roughly 5,380 times and I’ll likely see it another 5,380 times more. It’s a fabulously engrossing saga of Las Vegas sin and sleaze from the very first masterful frame all the way until the last. Some have called it Goodfellas Gone West, and that’s not far off, but stylistically, the two films are very different, while of course sharing some similar traits. Casino is epic, where Goodfellas stressed the intimate, and it’s the smart way that Scorsese and his writers pulled all of the small and big pieces together that they were able to concoct a packed narrative that still remained coherent. Cinematographer Robert Richardson was in full-on flamboyant mode here, with massive crane shots, huge camera-arm movements, with as dynamic of a sense of how to shoot in widescreen that can possibly be referenced. The film is truly massive in both visual scope and story structure, with one element complimenting the other, as Scorsese ladled on the blood, profanity, and gangster tropes that everyone would expect from the master of this particular milieu.
There’s a journalistic sweep that encompasses much of Casino, with Richardson’s always-searching camera gliding over the action, covering the various back-room deals and violent confrontations with extreme, flashy style. Scorsese was obsessive in the details both large and small during Casino, which allowed Richardson the chance to gaze his camera upon the glitz and glamour that Las Vegas exudes. There’s a mind-boggling amount of three to five minute long stedicam shots in this film, which gives off an observational quality from moment to moment. It’s sort of ridiculous to be honest. Richardson lit Sharon Stone like a goddess in this film, always showing off her eclectic wardrobe and sexy make-up to maximum effect; do you think she had 10,000 costume changes? Everyone in the cast was just perfect, with De Niro and Pesci doing their best “one-two” with each other, while Richardson and Scorsese caught all of the sly moments from these two supreme actors which helps make this film what it is – an obsessive study of excess and greed and power. There’s even a Smothers Brother in this film!
There’s a level of verisimilitude that Richardson and his crew brought to this film, from the practical locations to the fully decked out sets to all of the character actors and “faces around the tables” that help to produce a tableaux effect – it’s a perfect distillation of a bygone era. And then there’s also the freewheeling sense of visual flamboyance (this is Vegas after all!) that Casino possesses, which separates it from other genre entries, and it felt like the next logical step for Scorsese in terms of his fascination with this subject matter. This was one of those movies that blew the doors off my cinema-mind 20 years ago, an example of what I’d like to call bravura filmmaking. Casino is akin to an out of control but still somehow in control locomotive that just never wants to stop moving. “An equal amount of blueberries in each muffin” POWER.