Scarface (Universal Cinema Classics) (1932) Review

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(More customer reviews)A gritty, fast-paced gangster film that ranks among the best. Made with a purpose in 1932, take into consideration for example the complete title; 'Scarface: The Shame Of A Nation' and the beginning credits that ask you 'what are you going to do about it?', very straightforward but naïveté aside this is one of the best gangster films of all time. Paul Muni delivers a powerful performance, he is a driving force throughout the movie. Muni plays Tony Camonte, a character that is more than 'loosely' based on Al Capone. He easily dominates every scene he's in except one or two scenes that get stolen by Ann Dvorak as his sultry little sister. George Raft is equally impressive as Tony's best friend and partner in crime. Boris Karloff, fresh from the success of 'Frankenstein' just one year earlier, also appears as one of Tony's competitors. Ann Dvorak is excellent as Tony's sultry sister who is also in love (or is it lust?) with Tony's best friend (Raft). Scandalous at the time particularly because of the unhealthy relationship between Tony and his sister. Those hints of incest are still kind of shocking today. Some of the elements were taken from real life like the 'St. Valentine Day Massacre' for example and the name 'Scarface' is directed at Al Capone himself. The ending is a knockout. An intense and brutal gangster drama that's brilliantly directed by Hawks. A remake was attempted in the 80's with Brian DePalma and Al Pacino in the role of Tony Montana, but was much more graphic and violent not to mention overlong. This remains the best of the Scarface films. From a scale of 1-10 I give this film an 8!

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Generally regarded to be the best of the classic gangster films, Scarface tells the exciting story of organized crime's brutal control over Chicago during the Prohibition era. Oscar winner Paul Muni gives an electrifying performance as Tony Carmonte, an ambitious criminal with a ruthless drive to be the city's top crime boss. Produced and directed by the legendary Howard Hawks, Scarface was a groundbreaking film which established both Paul Muni and George Raft as major Hollywood stars, while influencing all gangland films to follow.

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The Funeral (1996) Review

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(More customer reviews)Well its not your typical mob film, it does not contain alot of tough guy bravado, nor does it have that element of comedy most mob films have, No its a realistic modern morality tale from the brilliant and underrated Director Abel Ferra. Here just like Bad lieutenant and King of New York he displays a hard crime story with religious morality thrown in for good measure,its really sad that this brilliant trilogy of films will never get the credit there due since lets face these excellent movies ( The Funeral my favorite) are the type of films mainstream society just cannot accept, why? because no one cares about originality anymore they want all flash and no substance overrated actors and actresses who could not act to save there lives, and pathetic remakes. Is that a fair assesment of all people in todays modern day society? perhaps but there is still a strong minority who demand something more from films, the basics of originality, a good plot, and actors and actresses who give a damm. Plain and simple Abel Ferrera and his films are a blessing in todays world since there is to much crap that is in todays theaters, and while there are his critics about him and his complicated films lets just say they should look closer at Abel Ferreras works of art and this brilliant crime trilogy of King of New York, Bad Liutenant, and The Funeral, should be viewed by all and if you don't understand or somehow are bored LOOK CLOSER.

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Superfly (1972) Review

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(More customer reviews)Superfly (1972) is a tough, unpolished gem rising above the numerous films to come from the blaxploitation period of the early 70's. While some are critical of the message they believe posed within the film, one of glamorizing the image of the drug dealer, I didn't really see it that way at all. I think this image presented was a superficial one, and one that the main character within the film saw and understood, prompting his actions and decisions to try and escape the life.
Ron O'Neal, who recently passed away on January 14, 2004, plays Priest, a streetwise pusher in a dilemma. Seems he is tired of the hustle, and is looking for a way to get out of the game, but, as his partner Eddie (Carl Lee) puts it, "Look, I know it's a rotten game, but it's the only one The Man left us to play." Apparently Priest has thought long about this, and he has come up with a plan to score a lot of cash in a short amount of time, and then plans to retire. Sounds like a plan, but Priest soon encounters powerful forces that feel he is worth more to them on the streets, pushing junk, doing what he does best. While the film does appear to glamorize the lifestyle of the drug peddler, I truly believe the underlying message was than despite all Priests' success, he was languishing in a form of slavery, always working for someone else and taking all the risks involved in such a trade. In a way he realized this, but found it difficult to leave the life, as that was all he knew, and working for 'chump change' was not in his future.
Gordon Parks, Jr. direction may seem amateurish with jerky camera shots and such, but it fit in nicely with the nature of the material within the film, giving a raw, harsh look into the seedy side of life, much like Martin Scorsese's Mean Streets (1973). One of the things that really sets this film apart from the other movies of the time was the soundtrack by the legendary Curtis Mayfield. With such funkified songs as Pusherman, Freddie's Dead, and Superfly, Mayfield's contributions to the film served to elevate it above many films within the genre, and solidify his career as a musical genius. O'Neal is great as Priest (love those outta sight mutton chops), and is supported by some really decent performances by the lovely Sheila Frazier, Julius Harris, who many may recognize from the James Bond film Live and Let Die (1973), and Charles McGregor, who also appearing in Mel Brooks Blazing Saddles (1974).
There are a good amount of special features on this disc including a brand new documentary called `One Last Deal: A Retrospective', a commentary track by Dr. Todd Boyd, a USC professor of television and cinema and author of "Am I Black Enough for You: Popular Culture from the 'Hood and Beyond", a early featurette with Ron O'Neal, a `making of ` documentary with O'Neal, `Behind the Threads' featurette with costumer designer Nate Adams where he shows off some of the original costumes from the film, and an audio only track with Mayfield's music. Also, I really liked some of the small touches within the interactive menu. For instance, instead of a listing for `Scene Selection', it's titled `Makin' the Scene', the `Special Features' selection is titled `Fly Features', and the subtitles section is labeled `Jive Talk'. A very nice and well-developed release by Warner Brothers, although I still am annoyed that they use the cheap plastic and cardboard packaging. When will they learn...
Cookieman108

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Ron O'Neal in the smart, streetwise box office success about a pusher who tries to make one last killer deal before kicking the business. Featuring a hit Curtis Mayfield score.Year: 1972Director: Gordon Parks, Jr.Starring:Ron O'Neal, Carl Lee, Julius W. Harris

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Miller's Crossing (1990) Review

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(More customer reviews)Yes, FARGO won lots of awards, and sure, RAISING ARIZONA isuproariously funny, but make no mistake: MILLER'S CROSSING is thequintessential Coen brothers film. In point of fact, it's flawless, a jewel you can turn over and around in your hands again and again, seeing a new facet every time, each one striking and smooth and perfect.
The script is awash with Prohibition-era jargon both historically grounded and whimsically invented, a symphony of phrases and exchanges that linger and echo long after being heard. (It isn't unusual after a viewing to walk around asking friends, "What's the rumpus?", or to complain about being given "the high hat" upon being snubbed.)
The performances, as well, are individually and collectively irresistable. I defy you, in fact, to find a single film in which _any_ of the major players has ever been better. There's not a false or miscast note in the whole of the dramatis personae. There's Gabriel Byrne as the inscrutable, Machiavellian Tom Reagan, a trusted advisor to the city's Irish mob lord who falls out of favor and "defects" to the Italian camp to save his own skin...or does he? Albert Finney plays Leo, the aforementioned Irish power broker whose fists of iron, vicious survival instinct, and all-too-vulnerable heart congeal into a simply remarkable, unforgettable character. John Turturro is equal parts pathetic outcast and conniving opportunist as Bernie Birnbaum, the unscrupulous, vampirically pale bookmaker whose shady maneuvers set the whole plot into motion. Marcia Gay Harden exudes fierce intelligence and buckets of carefully-aimed sex appeal as Bernie's sister Verna, whose unflagging drive to protect her brother -- even from himself -- almost excuse her twisted machinations. J.E. Freeman drips evil and impending violence all over the screen as smarter-than-you-want-him-to-be enforcer Eddie Dane. Jon Polito, as hot-tempered Italian ringleader Johnny Caspar, may be the only character at hand to actually feel sorry for, as his oddly consistent ethical code makes it a sure bet he doesn't stand a chance in his environment.
There's more to say about the acting, of course, but I'll stop there rather than pour accolades onto the entire cast. And when I say "entire," I'm not exaggerating: every person who comes into frame, from the leads to the smaller parts to the people with one line or none at all, fit together and play off of each other as though they'd been born to do nothing else in their entire lives. The whole of it actually makes it difficult not to notice acting and casting problems in other films.
I'm running out of room here, so I can only nod to some of the other perfect elements of production. Barry Sonnenfeld's dead-on photography is measured and seamless where appropriate, frenetic where necessary. Set design and costuming make for such an astonishing illusion that were this not a color film, you might actually forget that it was released 9, not 69 years ago. And even the sound -- from the music (diegetic and otherwise) to the crystal-clear sound effects that pierce the visual and draw you in by the ears, like they're supposed to -- is a _presence_ in its own right throughout the film. I mean, when was the last time ice cubes dropping into an old-fashioned glass or the wringing out of an alcohol-soaked rag into a tinny dish felt truly woven into the designed effect of a scene in a movie?
What continues to amaze me about MILLER'S CROSSING is that no matter how many times I see it, regardless of how hard I look, I _can't find anything wrong with it_. That's an extremely rare situation in my experience. It's what we all want out of a movie, and almost never get. MILLER'S CROSSING delivers exactly that feeling, and when Tom Reagan leans against that tree and adjusts that hat in the haunting final shot, he knows it just as surely as we do. He doesn't seem to feel especially happy about it, but that's okay. _You_ will.

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Leo is the benevolent Irish gangster and political boss who rulesan Easter city with the help of Tom, his trusted lieutenant and counselor. But their control of thetown is challenged by an over-reaching Italian underboss and his ruthless henchman. Just as this threat erupts, Leo and Tom have a falling out over the same woman. Tom, caught in the jaws of a gangland violent outcome.

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Scarface (Widescreen Two-Disc Anniversary Edition) (1983) Review

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(More customer reviews)The reason to buy this DVD is simple: one of the most influential films of the 20th century has finally been released in a newly restored, pristine transfer. As an owner of the original DVD release, I can testify that the difference is like night and day.
With every viewing, I come to appreciate Brian DePalma's Scarface more and more. Although not perfect, there is much more right with this film than wrong. It helps to compare it with its countless imitations: where most subsequent crime films rush headlong from one bloody gunfight to the next, Scarface takes its time. Its languid, gliding camera has a certain elegance in the way it reveals story points without relying on clunky Dick-and-Jane dialog or overwrought MTV pyrotechnics. A prime example is the infamous scene where Tony Montana (Al Pacino) attemps to buy two kilos of cocaine from some Coloumbians for his boss, Frank Lopez (Robert Loggia). Watch the way the camera drifts from the Miami Beach hotel room, across a peaceful sun-drenched street, over to the car where Tony's associates are waiting for him, then slowly back up to the bathroom window, where the sound of the idling chainsaw grows louder. Creepy. Insinuating. It's comparable to the best work of Hitchcock - a day-lit nightmare where the ordinary becomes sinister. Watch closely as the Columbian dismembers Tony's friend limb by limb. In spite of the scene's reputation, we never actually see what's happening. Like the shower murder in Psycho, all the violence is implied - so strongly, in fact, that DePalma had to fight the MPAA in a well-publicized battle to keep Scarface from receiving an X rating.
It's interesting the way that the improved picture and sound seem to contribute to every aspect of the film. Subtleties in Pacino's largely unsubtle performance become clear. We can better see what he does with his face in those famously shadowy close-ups; the way he registers what he's thinking privately, even as he swaggers with exaggerated bravado. Where once it seemed he was over-acting at times, it is now apparent that he was carefully playing his character's machismo against a darker undercurrent of great hunger - so intense that it defies articulation. Tony Montana's great tragedy is his utter lack of self-knowlege. Beneath the clouds of cordite and testosterone, he is so painfully needy that he will draw everyone around him into a decaying orbit of destruction. He is a criminal, but he is not immoral. He is a black hole of a man, a vacuous human being whose desires eclipse whatever soul that a life of deprivation and decay may have left him. He acts without apology, or even much thought. He's an animal in both the best and worst senses of the word. The tragedy is not so much that he is killed at the end - he brings that on himself - it is that so many others, not least the addicts that buy his product, must suffer and die as well. It's downright Shakespearean, but with (lots of) f-words in place of gilded Elizabethan speech.
Once you get past those 160-odd f-variants, Oliver Stone's screenplay begins to seem as thoughtful as it is blunt. The language is harsh, but also truthful, with plenty of quotable lines (though you would not want to quote them in polite company).
The improved sound mix also brings into relief something that I had always looked upon as a liability of Scarface - the very "80's" music score, which had always seemed to me the newer equivalent of those ham-handed "jazz" scores from certain 50's melodramas like Man With the Golden Arm. But now the music seems "dated" more in the way of an early James Bond score; it is appropriate to the era. Were Scarface made now, it would still be a legitimate choice of styles.
The extras are thorough, though the "making of" documentary seems to be a longer version of the one from the original DVD release. There is also a documentary on Scarface's considerable influence on hip-hop music, but I smell an Obvious Plug for a CD of music "inspired" by the film. (The package insert proclaims that it's In Stores Now! from DefJam records.)
In any case, Scarface has finally received its due respect in a form that showcases the late John Alonso's brightly-hued, yet somehow gritty cinematography. Alonso also photographed the sumptuous Chinatown. This DVD is also a tribute to him - a master of light and shadow, whose old-fashioned, hard-lit chiaroscuro images contributed in no small way to Scarface's status as a modern classic.

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GoodFellas (1990) Review

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(More customer reviews)There's nothing I can say that hasn't already been said about "Goodfellas"... it's one of the best movies ever. To hell with the AFI, this is arguably one of the top 10 American movies ever made! Martin Scorsese, Robert De Niro, Ray Liotta, Joe Pesci, Lorraine Bracco: five top-notch talents operating on all 8 cylinders in this story about three decades of life in the mob.
Now, you'd think that Warner Brothers would give this movie the most complete Warner DVD release that's ever existed. A fervent popular following, a high level of anticipation for a special edition, and the current booming state of the DVD industry should've made this a no-brainer slam dunk for Warner's marketing and home video departments. And so, after years of having to flip over the old disc, after years of almost crushing that flimsy snap case, after years of listening to that 5.1 surround that sounded suspiciously like 2-channel, should you get this new version?? The answer is a resounding..."maybe".
Arguably the biggest plus to this new edition of "Goodfellas" is the fact that the whole movie is contained on a single side of a dual-layered disc. The "all-new digital transfer", enhanced for 16:9, is only a marginal improvement over the original release (which was also listed as being "enhanced for widescreen TVs" on the package; it wasn't). Strangely enough, in the scene where Jimmy (De Niro) and Paulie (Paul Sorvino) go to convince Henry to go home to Karen, there is a very noticeable screen-split line on the film that sections De Niro's face in half. This isn't the transfer's problem, per se; it looks more like something off the film print. The strange thing is I don't remember this streak being present on the old version. Maybe it's only a minor peeve, but still, this is the kind of thing you'd expect a studio to clean up for a special edition.
The English audio is the same old Dolby-Surround-masquerading-as-5.1 mix used in the old version. The package incorrectly lists Spanish as the alternate language; it's still French. Nothing more to say about that.
The disc menus are static, and they all have this generic-sounding jazz score playing over them. Remember all the jazz in "Goodfellas"? Yeah, me neither.
Of course, the real reason most people are running out to get this new set is to see the special features. This DVD includes 2 commentaries: one with various cast & crew members, the other with Henry Hill & ex-FBI agent Ed McDonald (who plays himself at the end of the movie). Of the 2 commentaries, the track with real-life players Hill and McDonald is infinitely more interesting, even though Hill mumbles more than Keith Richards having an acid flashback.
When I bought this set, I was looking forward to some feature-length Scorsese, Pesci, Liotta &/or Bracco commentary (I didn't dare to hope for Robert De Niro, I mean, be serious), with some funny stories or moviemaking info. Instead, what you get is a few new comments cobbled together with 10-15 year old sound bites from De Niro and Joe Pesci. Basically, the first 90 minutes of commentary is a total strokefest ("oh-this-guy-was-so-great", "oh-she-did-a-really-good-job") with only Scorsese, author Nick Pileggi, Liotta, and cinematographer Michael Ballhaus saving it. It picks up towards the end, though, when Lorraine Bracco (who shoots down the "screen-specific commentary" illusion when she talks about having watched the movie on the morning she's being interviewed) and editor Thelma Schoonmaker drop some funny thoughts.
As for the rest of the extras? There's really no need to have a second disc to contain them; the total running time of all the "documentaries", as Warner calls them ("featurettes", I call 'em), along with the theatrical trailer is less than an hour. Plenty of room for these on the first disc, but then I guess Warner felt they needed another selling point with the whole 2-disc thing. To summarize the 1/2-hour making-of documentary: "Martin Scorsese is a great director." Remember those 6 words and everything else is cream cheese.
The second major documentary, at around 13 minutes long, has interviews with some younger writer-directors who've found themselves influenced by "Goodfellas". Only 5 words to remember this time: "'Goodfellas' is a brilliant movie."
The other two featurettes are about 10 minutes altogether. One is a storyboard-to-screen comparison, the other is a little throwaway piece with some cast & crew anecdotes. 4 words will do this one just fine: "Warner Brothers is lazy."
It's really a shame that Warner Brothers couldn't wait just a tad longer and include some truly special features for one of the best movies their studio has ever produced. With the stellar jobs they've done on their other 2-disc reissues, like "Enter the Dragon", "The Right Stuff", "Singin' in the Rain" --jeez, even "Robin Hood: Prince of Thieves" has better features than this!!-- I expected Warner Bros. to really pull out all the stops for this new edition of "Goodfellas", but it's a big letdown. Still, it is an improvement (no matter how minor) over the previous release, and as it is probably the "best" version we're ever gonna get on DVD, I would have to recommend picking it up.
However, if you already own the movie, keep three things in mind. Ask yourself 1.) if you really mind flipping the old disc over, 2.) if you've got a normal full-screen TV, do you really need a new anamorphic transfer?, and 3.) do you really need to see the special features if they're not exactly top quality? If your answer to any of these things is "no", then I'd think long and hard about shelling out another $20.
**UPDATE - 12/31/2010** Having recently gotten a PS3, I've been going nuts updating as many of my DVDs as possible to Blu-Ray, but like most people who've made the switch, I've come to learn that it's not always worth it in every case. I just got the new 20th Anniversary Edition Goodfellas BluRay and I can confirm that it has the same exact lame special features we were issued on the so-called "special" edition DVD six years ago (with two "new" extras; more on that in a minute).
The image upgrade is noticeable to me, but not impressive enough (that line is STILL running down De Niro's face) for me to recommend laying out yet another 20-odd dollars for the same product. C'mon, Warners, all this time and you still haven't learned your lesson? And being that this is Blu-Ray, maybe a TrueHD audio track would be in order? Nope, we get the same old 5.1. Thanks a pantload.
So what's new on this 20th Anniversary release? Well, I'll admit it does have a snazzy hardbound book-shaped case, even if it doesn't have much in common with the film, design-wise. There's also a pretty nice booklet about 30 pages long with stills from the movie. There are also two additional features that weren't present on the original DVD: a documentary on the history of the '30s and '40s gangster movies and a selection of mob-themed Looney Tunes shorts. The problem is, this is recycled content; the cartoons can be found in the Looney Tunes sets, while the documentary is a leftover from a Warner Brothers gangster movie box set released a few years ago. They're both fun, both interesting, but have only the most tenuous connections with Goodfellas. Couldn't squeeze one substantial new extra out of this new release, could they? Once again, all people wanted was a little decent treatment given to one of the best movies ever produced by a major studio. Once again, Warner Brothers has proven they just don't get it. Fair enough, but this is the last copy of Goodfellas I buy. I don't care if they come out with the deluxe 25th Anniversary 3D Super-BluRay Scratch 'n Sniff Edition, I'm not biting.
On a side note, I just want to say thanks to everybody for all the helpful votes and whatnot, glad you found this review useful over time. Take care!

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When Martin Scorsese, one of the world's most skillful and respected directors, reunited with two-time Oscar-winner Robert De Niro in GoodFellas, the result was one of the most powerful films of the year. Based on the true-life best seller Wiseguy by Nicholas Pileggi and backed by a dynamic pop/rock oldies soundtrack, critics and filmgoers alike declared GoodFellas great. It was named 1990's best film by the New York, Los Angeles and National Society of Film Critics. And it earned six Academy Award nominations, including Best Picture and Best Director. Robert De Niro received wide recognition for his performance as veteran criminal Jimmy "The Gent" Conway. And as the volatile Tommy DeVito, Joe Pesci walked off with the Best Supporting Actor Oscar. Academy Award nominee Lorraine Bracco, Ray Liotta and Paul Sorvino also turned in electrifying performances. You have to see it to believe it - then watch it again. GoodFellas explores the criminal life like no other movie.

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The Godfather - The Coppola Restoration Giftset (The Godfather / The Godfather Part II / The Godfather Part III) Review

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(More customer reviews)For those crying for the "Godfather Saga"/"Godfather Epic" versions, you are missing the point. Restoration expert Robert Harris (and countless others) worked for over a year from the best available print materials (as the original negatives are badly damaged and faded) to restore the first and second films to their original theatrical glory, which is something these iconic films of American Cinema deserve. That is the point of restoration.
If you are looking for a "wow" disc to show off your Blu-ray home theater sound and video, this is not it. If you are looking to experience modern American Gangster cinema in its 1970's glory, this is as close as you are ever likely to get, muted sepia-esque color, film grain and all.
These were not done exclusively for the home market. The priority was that they were restored for theatres, because that is where they would be judged the most critically, and all indications are that they do not disappoint. Never watch these films in your living room with the lights on. Watch them like you do in the theater, lights out, to appreciate the effort that went into these films.

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THE GODFATHER: Popularly viewed as one of the best American films ever made, the multi-generational crime saga The Godfather (1972) is a touchstone of cinema: one of the most widely imitated, quoted, and lampooned movies of all time. Marlon Brando and Al Pacino star as Vito Corleone and his youngest son, Michael, respectively. It is the late 1940s in New York and Corleone is, in the parlance of organized crime, a "godfather" or "don," the head of a Mafia family. Michael, a free thinker who defied his father by enlisting in the Marines to fight in World War II, has returned a captain and a war hero. Having long ago rejected the family business, Michael shows up at the wedding of his sister, Connie (Talia Shire), with his non-Italian girlfriend, Kay (Diane Keaton), who learns for the first time about the family "business." A few months later at Christmas time, the don barely survives being shot by gunmen in the employ of a drug-trafficking rival whose request for aid from the Corleones' political connections was rejected. After saving his father from a second assassination attempt, Michael persuades his hotheaded eldest brother, Sonny (James Caan), and family advisors Tom Hagen (Robert Duvall) and Sal Tessio (Abe Vigoda) that he should be the one to exact revenge on the men responsible. After murdering a corrupt police captain and the drug trafficker, Michael hides out in Sicily while a gang war erupts at home. Falling in love with a local girl, Michael marries her, but she is later slain by Corleone enemies in an attempt on Michael's life. Sonny is also butchered, having been betrayed by Connie's husband. As Michael returns home and convinces Kay to marry him, his father recovers and makes peace with his rivals, realizing that another powerful don was pulling the strings behind the narcotics endeavor that began the gang warfare. Once Michael has been groomed as the new don, he leads the family to a new era of prosperity, then launches a campaign of murderous revenge against those who once tried to wipe out the Corleones, consolidating his family's power and completing his own moral downfall. Nominated for 11 Academy Awards and winning for Best Picture, Best Actor (Marlon Brando), and Best Adapted Screenplay, The Godfather was followed by a pair of sequels.
THE GODFATHER PART II: This brilliant companion piece to the original The Godfather continues the saga of two generations of successive power within the Corleone family. Coppola tells two stories in Part II: the roots and rise of a young Don Vito, played with uncanny ability by Robert De Niro, and the ascension of Michael (Al Pacino) as the new Don. Reassembling many of the talents who helped make The Godfather, Coppola has produced a movie of staggering magnitude and vision, and undeniably the best sequel ever made. Robert De Niro won an Oscar®; the film received six Academy Awards, including Best Picture of 1974.
THE GODFATHER PART III: One of the greatest sagas in movie history continues! In this third film in the epic Corleone trilogy, Al Pacino reprises the role of powerful family leader Michael Corleone. Now in his 60's, Michael is dominated by two passions: freeing his family from crime and finding a suitable successor. That successor could be fiery Vincent (Andy Garcia)... but he may also be the spark that turns Michael's hope of business legitimacy into an inferno of mob violence. Francis Ford Coppola directs Pacino, Garcia, Diane Keaton, Talia Shire, Eli Wallach, Sofia Coppola, Joe Montegna and others in this exciting, long-awaited film that masterfully explores the themes of power, tradition, revenge and love. Seven Academy Award® nominations, including Best Picture.

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Mafia Review

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(More customer reviews)If you like Grand Theft Auto, you will like this game. The two games certainly follow a similar approach, although there are quite significant differences (aside from the time this game is set in).
Personally, I like the graphics in Mafia better. Overall,t he whole story is told in more style, and is much more immersive IMO.
However, GTA offers more freedom while playing the game. Mafia offers a lot of freedom too, but in order to fulfill missions, one usually sticks to one path. Some people told me they don't like that as much. Personally, I like the Mafia gameplay at least as good as the GTA gameplay. Sure, GTA gives you a mission such as "destroy this car", and you have a million ways to accomplish that. Mafia gives you a mission such as "have this race car manipulated", and naturally, there is one place to pick it up, and one place to bring it to have the work done.
While you play the game however, that difference doesn't matter very much. In fact, Mafia provides a somewhat tighter storyline to provide a more detailed, intriguing story. I personally prefer that.
Mafia also seems to have a bit more variety in the missions. They have everything from missions on foot where you shoot 1st person style, to driving missions, to even races.
I like the controls in Mafia much better than GTA. In GTA, things never seem quite right. The controls used don't work truely well when you are an foot, and they don't work very well in the cars either. But they kinda work for both. In Mafia, you use the regular FPS-style keyboard and mouse combination when you walk, and a whole different set of controls when you drive. In fact, a (force feedback) steering wheel works very well in Mafia, while I found it to work not too well at all in GTA.

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This third-person 3-D action game takes place in a fictional city named Lost Heaven--a cross between New York and Chicago--and is about the daily life of a gangster from the '30s. More than 60 vehicles are available to drive through the 12 miles of environment; stop your car and get out whenever and wherever your want. Use weapons such as a Tommy gun, a Smith & Wesson model 27 Magnum, a pump-action shotgun, a baseball bat, or Molotov cocktails. Seven multiplayer modes are available via LAN or over the Internet, including Deathmatch and Capture the Flag.

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