9 | / 10 |
Users | 4.8 | |
Reviewer | 4.5 | |
Overall | 4.5 |
The life and times of Henry Hill, who grew up idolizing the wiseguys in his neighborhood and eventually became one of them. With his friends Jimmy Conway and Tommy De Vito, Henry lived the dream life of taking whatever he wanted and answering to no one—until everything caught up with him.
Starring: Robert De Niro, Ray Liotta, Joe Pesci, Lorraine Bracco, Paul SorvinoCrime | 100% |
Drama | 91% |
Epic | 62% |
Biography | 29% |
Video codec: MPEG-4 AVC
Video resolution: 1080p
Aspect ratio: 1.78:1
Original aspect ratio: 1.85:1
English: DTS-HD Master Audio 5.1 (48kHz, 24-bit)
French: Dolby Digital 2.0
German: Dolby Digital 2.0
Italian: Dolby Digital 2.0
Spanish: Dolby Digital 2.0
Portuguese: Dolby Digital Mono
Czech: Dolby Digital 2.0
Hungarian: Dolby Digital 2.0
Polish: Dolby Digital 2.0
Russian: Dolby Digital 5.1
Thai: Dolby Digital 2.0
Turkish: Dolby Digital Mono
Japanese: Dolby Digital 2.0
Japanese is hidden
English SDH, French, German SDH, Italian SDH, Japanese, Portuguese, Spanish, Spanish SDH, Cantonese, Czech, Dutch, Greek, Hebrew, Hungarian, Korean, Mandarin (Simplified), Mandarin (Traditional), Polish, Romanian, Russian, Thai, Turkish
50GB Blu-ray Disc
Two-disc set (2 BDs)
UV digital copy
Region free
Movie | 5.0 | |
Video | 4.5 | |
Audio | 4.0 | |
Extras | 4.0 | |
Overall | 4.5 |
For as far back as I can remember, my father hated gangster movies—not the classics of Warner Brothers' golden years like Little Caesar and The Public Enemy, where the gangsters were evil reprobates who always got what was coming to them, but the modern gangster films that began with Arthur Penn's Bonnie and Clyde, where the criminals were portrayed as fully rounded, three-dimensional human beings, who often became heroes in the public imagination. My dad grew up in a poor Chicago neighborhood, and he'd seen his share of tough guy antics by the time he was a young adult. Like Henry Hill's father, both in Goodfellas and in real life, he wasn't impressed. I was twenty when The Godfather was released, and I found its operatic grandeur intoxicating. My father reviewed it in one sentence: "They sure glorified those hoodlums, didn't they?" I don't know whether my dad ever saw director Martin Scorsese's Goodfellas, but if so, I doubt he lasted to the end. At the literal level, Scorsese's dramatization of small-time gangster Henry Hill's biography demonstrates how thoroughly the life of organized crime corrupts and consumes everyone in it, along with their families, friends and anyone unfortunate enough to cross their path. But the paradox of Goodfellas, and one of the essential qualities that makes the film an enduring classic, is how effectively Scorsese conveys the allure of that life, the attraction of easy money, freedom from responsibility and swaggering indulgence. Henry Hill's friends all die or go to jail, and he ends up an average "schnook" living in Witness Protection and pining for the glory days, but until then it's a helluva ride—and Scorsese makes it so exhilarating that it's just as easy for the audience to overlook the consequences as it was for the real Henry Hill. Goodfellas is both a warning and an invitation. It's a cautionary tale that tempts viewers to throw caution to the wind, because the train to hell has the best party in town.
Goodfellas was photographed by cinematographer Michael Ballhaus, who has shot several films for Scorsese, including The Departed. Warner first released the film on Blu-ray in 2007 and has since re-released the same disc several times, including a 2010 DigiBook with a feature-length documentary on gangster films on a separate DVD. Fans of Goodfellas have long been hoping for a remaster, and for the film's 25th anniversary, it has finally arrived. Under Scorsese's supervision, Goodfellas has been newly scanned at 4K resolution from the original camera negative ("OCN"), then color-corrected in the digital domain. Having never watched the 2007 Blu-ray release (although I've seen the film many times), I came to this version fresh, and the presentation is spectacular. Clarity, sharpness and densities are superb. The blacks are deep, and the contrast is excellent. Colors are wonderfully saturated, without any bleeding, which is especially important due to the frequent and strategic use of bright red lighting. Key scenes at night, such as the opening sequence with Henry, Tommy and Jimmy driving in a car, then stopping to check the trunk because they hear a noise, look terrific, because the faces and figures are illuminated just enough to stand out from the darkness around them. Large crowd scenes like the wedding of Henry and Karen or their first date at the Copacabana remain detailed even in long shots. As Scorsese says in the letter accompanying this release, he tried to pack every frame "with motion and detail", and this Blu-ray rendition allows all of it to be seen. A natural-looking grain pattern is readily observable that, in motion, is much finer than may appear when frames are frozen for screenshots. It no doubt helps that Warner has placed all the extras on a second disc and devoted most of a BD-50 to the feature, yielding an average bitrate of 27.33 Mbps, which is a significant improvement over Warner's frequently low rates. After I watched the new version of Goodfellas, I popped in a copy of the 2007 release, and the difference was immediately obvious. By comparison, the 2007 release looks like it is covered with a layer of haze, largely because the contrast is too high and the image is overbrightened. This may have resulted from an attempt to increase the perception of detail on an older scan, but the new transfer needs no such aid. The detail is there for real, and the greater accuracy in black level and contrast provides more sense of transparency and depth. The screen capture equipment we use at Blu-ray.com does not allow for easy selection of a specific frame, but I have tried to come as close as possible to the twenty screenshots included with Ken Brown's review. Readers will no doubt observe a significant shift in colors between the 2007 release and the new version. In motion, I found the difference less dramatic than it may appear from side-by-side comparisons of individual frames. In any case, there is no reason to believe that the colors of the 2007 release were accurate. Before the era of digital intermediates, media for theatrical release and home video were often prepared from different sources (and, for a new medium like Blu-ray, at different times), so that no guarantee of consistency existed. This is why it is so valuable to have the filmmakers involved in the process of creating a Blu-ray, because they can at least remember their artistic goals and choices, even if they may have forgotten the specific shade of blue of a suit jacket in a particular scene. Given Scorsese's prominence as an advocate and financial supporter of film preservation, one can reasonably expect that his supervision of this transfer of Goodfellas also involved consulting whatever sources were available for checking the accuracy of the film's colors. Such a detail-oriented filmmaker would be unlikely to overlook so obvious a point.
Goodfellas was released to theaters in Dolby Surround, then remixed in Dolby Digital 5.1 for its DVD release. The same Dolby Digital mix was included on the 2007 Blu-ray release, but the new disc has a lossless DTS-HD MA 5.1 track that brings the film's unique sound mix fully to life. The sonic style of Goodfellas, overseen by Skip Lievsay (a recent Oscar winner for Gravity), is a kind of organized cacophony of dialogue, narration, specific sound effects that are deliberately too loud so that they break through and grab the viewer's attention, other effects that linger in the background creating unease, abrupt eruptions and sudden silences. Through it all winds the lengthy playlist of songs, carefully chosen from the periods covered by the film, which cut in precisely to comment, often ironically, on the action. The film has no original score; its music is entirely that of its era, but it is reproduced here with beautiful clarity, distinct stereo separation (if the original recordings permit) and an open sense of space thanks to the multi-channel format. Solid bass extension adds impact to key moments of violence, and some of the gunshots reverberate through the sound array. The dialogue remains clear even when it overlaps (no small achievement in the scenes of wiseguys joking, drinking and laughing uproariously). In the famous scene where Tommy shoots Spider (Michael Imperioli) in the foot, you can actually hear the phrase that leads Spider to mistakenly believe Tommy doesn't want a drink.
The second disc of this two-disc Blu-ray set contains all the extras from the 2010 DigiBook release, except for the commentaries, which accompany the film. Please refer to Ken Brown's review for a listing and description. New to this release are a current documentary, a book and a letter from Martin Scorsese.
One of the points made repeatedly in the new documentary accompanying this release is how familiar the world of Goodfellas was to Scorsese, because, like the young Henry Hill in the film, he had observed it from his bedroom window. Ray Liotta recalls the director personally tying the actor's tie to look just so, which is one of a thousand details that add up to the engrossing world into which the film immerses the viewer. The director's intuitive grasp of that world was essential to Goodfellas' remarkable balance between celebration and warning, a balance so delicately poised that it's entirely up to the viewer which way it tips. Highest recommendation.
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