Despite some bad reviews on release, "Casino" is closer to Scorsese's older work than any of his other recent films...

Rating: 9/10 (12 July 2005)

"Casino" (1995), a visceral examination of the Mafia's influence on the casinos of Las Vegas in the 1970s, is also the so-called "companion piece" to Martin Scorsese's "GoodFellas" (1990). Both films star Robert De Niro and Joe Pesci, and were written by Nicholas Pileggi.
Some even go so far as to claim "Casino" is a semi-remake of "GoodFellas." And many critics found flaws regardless of its connections to the earlier mob film. "Go in interested and you may find your interest tested way past the limit," wrote Mick LaSalle in the San Francisco Chronicle. "'Casino' is not about people, just Vegas. It's an ambitious film -- but also a scattered, unfocused one." Viewing the movie a decade after its release, it holds up well. The film's real strength lies in its narrative and unflinching examination of its characters. Sam Rothstein (played by Robert De Niro) isn't a nice guy, and never really gains our sympathy. Nicky (Pesci) occasionally exhibits acceptable behavior, but if the film has a villain, it's him. And Ginger (Sharon Stone in the best role of her career) is selfish, spoiled and depressing.
Critics didn't get it. "'Casino' runs a little under three hours, but (you) will feel like it is at least five due to the plodding pace by editor Thelma Schoonmaker," wrote Internet critic Steve Rhodes. Rhodes, along with countless other reviewers, complained about the level of violence  suggesting an NC-17 rating would have been more appropriate.
Whether you will like "Casino" or not depends entirely on your tolerance for character-driven films  and, of course, heavy violence. Ironically, despite its flaws, "Casino" is closer to Scorsese's older work than any of his other recent films  "Taxi Driver" and "Raging Bull" did not feature likable people, either. Whereas we followed Henry Hill's journey from youth in "GoodFellas" and felt empathetic towards him, "Casino" drops us square in the middle of Sam's story and there's no connection  this will either alienate or enthrall you, depending entirely on your taste in cinema. I personally love studies of characters  especially ones that examine the evil inherent in man, and Scorsese is brilliant at revealing these things.
His movie exhibits recognizable elements  a whiz-bang style with quick-cuts, rapid zooms, a diverse pop-and-classical music soundtrack (with no less than four or five Rolling Stones songs), and of course, his famous tracking shots (here, he stages an impressive three-minute examination of a casino without breaking until we exit the front door). But "Casino" doesn't confine itself to the restraints of Scorsese's styling. Here he goes hog wild with the visuals (more so than usual anyway), soaking up the vivid colors of Las Vegas, absorbing the dizzying array of flashing bulbs and tacky bright clothing.
Editor Thelma Schoonmaker, Scorsese's long-time collaborator, experiments with digital editing for the first time here  and employs some new techniques that are subtle but make a subliminal impact. The title sequence, designed by Elaine and Saul Bass, is simultaneously dazzling and haunting.
The performances are almost flawless. De Niro is Sam "Ace" Rothstein, a legendary gambler who is chosen out of the blue to maintain a new casino for the Las Vegas Mafia. Sam explains the economics of the system  the mob take their cut of the profits, the rest goes where it should, and everyone remains happy  so long as nothing goes wrong.
When Ace's old friend Nicky shows up in Vegas he begins to orchestrate a ring of violent robberies  becoming the new leader of a vicious gangster force that threatens to destroy Ace's chances at cutting it straight. Since Nicky is a made man, and Ace is Jewish, he can't stop him  but fears their new lifestyle will only lead to misery.
In the meantime Ace falls for the beautiful call girl Ginger (Stone), who doesn't love Sam, but marries him for his wealth. Her heart really belongs to her ex-boyfriend/pimp (played by James Woods), and at first Ace believes he can tame her into submission; but her free spirit ruins their lives and destroys Ace's confidence.
The movie does have its blunders, and is not on the same level as "GoodFellas," but would at least make the list a few titles beneath it. Some scenes seem unnecessary, and Nicky's violent attack with a pen does seem a bit reminiscent of an almost identical sequence in "GoodFellas" when Pesci attacks someone at a bar. And as enthralling and entertaining as "Casino" is, it never really matches the overall energetic exuberance of "GoodFellas"  they are, despite their close ties, very different films in a cinematic sense.
Still, this is a great film, well made and daring. You'll probably either love it or hate it, but there's no denying its powerful impact on the viewer.