Casino 1995 Kevin Pollak
بازیگران فیلم Casino 1995: Robert De Niro,Sharon Stone,Joe Pesci,James Woods,Don Rickles,Alan King,Kevin Pollak,L.Q. Jones,Dick Smothers,Frank Vincent. Pollak's talent for accents was well-showcased in popular comedies like 'The Whole Nine Yards' (2000) and the animated family film 'A Shark's Tale' (2004), though the comedian-turned-actor earned the most critical praise for his dramatic performances, like his breakout roles in the indie crime thriller 'The Usual Suspects' (1995), the courtroom. Kevin Pollak, Actor: The Usual Suspects. Short (5'5'), dark, compact, balding character actor, impressionist and comedian Kevin (Elliott) Pollak was born in San Francisco, California, on October 30, 1957, to Robert and Elaine (Harlow) Pollak, of Jewish descent. A stand-up comedy performer at age 10, he attended Pioneer High School in nearby San Jose, before turning professional comedian.
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Casino is a 1995 crime film directed by Martin Scorsese that follows a mobster and his rise to success while running a mob-controlled casino in Las Vegas. The film was inspired by the events surrounding the mob-controlled Stardust casino in Las Vegas during the 1970's. Considered the spiritual sequel to Goodfellas, the film reunites Scorsese, writer Nicholas Pileggi, and actors Robert De Niro and Joe Pesci, who play fictionalized versions of real-life figures Frank 'Lefty' Rosenthal and Anthony 'Tony the Ant' Spilotro. The film's cast includes Don Rickles, Frank Vincent, James Woods, and Sharon Stone, who received an Academy Award nomination for Best Actress in a Leading Role for her role as Ginger McKenna.
The following weapons were used in the film Casino (1995):
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WARNING! MAJOR SPOILERS AHEAD
Browning Hi-Power
A suppressed Browning Hi-Power is seen in Nicky Santoro's (Joe Pesci) hidden weapons compartment under his closet. Tony Dogs (Carl Ciarfalio) carries a Hi-Power akimbo with a Smith & Wesson Model 10HB while shooting up Remo's bar.
Smith & Wesson Model 10HB
Tony Dogs (Carl Ciarfalio) fires a Smith & Wesson Model 10HB from his left hand.
Colt Python
One of Tony Dogs' thugs carries a Colt Python revolver. The policemen who shoot Bernie Blue (Bret McCormick) also carry Pythons.
M1911-type
One of Tony Dogs' crew is armed with an M1911-type pistol when shooting up Remo's bar.
Walther PP
Nicky Santoro (Joe Pesci) uses a Walther PP to kill Anna Scott (Ffilliott Le Coque). One of the cops that shoot Bernie Blue plants a PP to justify them shooting him.
Smith & Wesson Model 15
Two mob hitmen (one of which is Frank Cullotta, the real-life inspiration behind Frank Marino) are armed with Smith & Wesson Model 15 revolvers during the final death montage.
High Standard Sharpshooter M
Assassins armed with suppressed High Standard Sharpshooter M .22 caliber pistols kill Andy Stone (Alan King).
Smith & Wesson 39
Nicky (Joe Pesci) keeps a suppressed Smith & Wesson 39 in his weapons safe. It is not a Model 59 as it lacks the double stack frame bulge, nor is it the Mk 22 Mod 0 'Hush Puppie', as it has the standard sights.
Uzi
One of Tony Dogs' thugs uses an Uzi when he shoots up a Kansas City bar. Frank Marino (Frank Vincent) and Dominick Santoro (Philip Suriano) later uses them they shoot up a cop's house.
Kevin Pollak Impressions
Over and Under Shotgun
Billy Sherbert (Don Rickles) brings a Over and Under Shotgun to Sam 'Ace' Rothstein's house (Robert De Niro).
Mossberg 500
One of Nicky's thugs, Jack Hardy (Jed Mills), uses a Mossberg 500 when shooting up the cop's house.
Casino 1995 Kevin Pollak Jr
Kevin Pollak Imdb
1995, R, 178 min. Directed by Martin Scorsese. Starring Robert De Niro, Sharon Stone, Joe Pesci, James Woods, Don Rickles, Alan King, Kevin Pollak, L.Q. Jones.
REVIEWED By Marjorie Baumgarten, Wed., Nov. 22, 1995
Actor Kevin Pollak
That Martin Scorsese is one of the modern masters of cinema is a fact that is reiterated through each of his movies. He always struggles to find new strategies for seeing beneath the surface of things and for new approaches to the telling of stories. Casino, however, cannot be viewed as one of Scorsese’s masterpieces. Yet, while certainly less than successful, I’m reluctant to call it a failure. Because, then, I’d have to revoke my love relationship with the film’s spectacular opening sequence (let’s just say it begins with a magnificent bang). The term “failure” would also negate the novelty of certain shots and scenes, like the overhead shot of Las Vegas that presents the city as a mecca of light in an otherwise barren sea of darkness. Leave it to Scorsese to expose the Vegas gestalt in a new and original manner. Eye-opening material like this is peppered throughout the movie. Then, of course, it is always a pleasure to watch De Niro at work, especially when at work in a juicy role like that of Sam “Ace” Goldstein, the Mob’s consummate bookie chosen by the bosses to front their “legit” Vegas casino. Believing in De Niro as a Jew is a bit of a stretch, however he’s good enough that you don’t dwell on how you can take the goy out of Little Italy but …. Better than watching De Niro work alone is the pleasure of watching De Niro working a scene with Joe Pesci, who is cast as Nicky Santoro, the New York muscle brought in to smooth over the casino’s inevitable rough spots. And to answer the question on everyone’s lips – Can Sharon Stone cut it? – well, yes and no. She fares better than any of her previous work might have led you to expect, but no one will ever mistake her for an acting giant. The problems with her characterization can largely be laid at the feet of Scorsese, a filmmaker whose body of work has never evidenced much sensitivity toward his female characters. For every Alice Doesn’t Live Here Anymore and Boxcar Bertha there are dozens of Johnny Boys and Travis Bickles roaming the Mean Streets, dividing women up into the virtuous and the fallen. Stone’s top-of-the-heap casino hustler could be a fascinating character, but in Casino she is simply there to be the object of Scorsese’s affections and subsequent scorn. The story is about what it is like for Ace living with her and living without her; not the other way around. Scorsese depicts the boys’ clubs, whether the movie is The Last Temptation of Christ, The Last Waltz, The Color of Money, Cape Fear or GoodFellas. And speaking of GoodFellas, that movie may just be the source of many of Casino’s shortfalls. Casino reminds you in too many ways of the brilliance of GoodFellas, and in a way that dooms Casino to remain in its shadow. It more than just the resonant re-pairings of De Niro and Pesci and novelist/co-scriptwriter Nicholas Pileggi and Scorsese. Structurally, it tries to ape the climactic build-up of GoodFellas, but never quite blasts off as the climax of GoodFellas so viscerally does. Casino never really seems to have a point, and in a movie just a couple minutes shy of three hours, that really becomes a palpable problem. As a whole, the movie does not crap out at the table, but neither does it come up with a fistful of dollars.