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When it was announced that Exorcist director William Friedkin and Serpico star Al Pacino were teaming up to make a gritty, New York police thriller in 1980, nothing grabbed the attention of cinema-goers more than the idea of Cruising--especially America's gay community at the time. Immediately considered grotesque and too dark for middle America, and exploitative, and wholly offensive to everyone else with its seeming portrayal of gay men as nothing more than leather chap-wearing, bushy mustache-sporting, sadomasochistic party animals, Cruising was quickly buried in the studio vault shortly after its quick life-span in theaters. But today the film can finally be viewed and appreciated for what it is: an over-the-top, campy, cult classic with a surprisingly engaging story, and an ambiguous twist ending that will linger with you for hours afterwards.

Al Pacino stars as Detective Steve Burns, who receives an assignment to go undercover after a serial killer starts preying on New York City's gay, S&M community. Dawning tight leathers and various colored handkerchiefs in his back pocket, Burns takes to the streets and investigates the underground clubs of Manhattan's Meatpacking District (really--no pun intended). As the detective comes closer to finding his target, he starts questioning his own sexuality and violent urges--making him a loose cannon with the police department, and an enigma amongst the sub-culture that occupies his new daily life.

Based on Nicholas Pileggi’s real life true crime book on minor criminal Henry Hill, Martin Scorsese’s Goodfellas marks the last great film for the director and for most of the high caliber talent on both sides of the camera. Spanning three decades, this epic is the ultimate and maybe final word on the world of organized crime. These guys don’t seem to be as politically connected as the Corleones of The Godfather or even the Jersey gangsters of The Sopranos (which carries many crossover cast members), they are a petty crime crew of thieves and are willing to use extreme violence to protect their interests and egos. However as the culture of the '70s takes root in their old-world existence, though warned by their highest authority, Pauley (Paul Sorvino), not to get involved with drugs, they eventually lead to Henry’s downfall. It’s an amazing journey made more amazing by the brilliant filmmaking style of director Scorsese working at the peak of his creative powers.

Like a life in crime itself the film sucks you in, showing you the highlights then becoming increasingly dangerous, and eventually you're searching for a way out. As far back as Henry can remember he wanted to be a gangster. The young Irish-Italian kid gets a job working for the mob at their cabstand. They take him under their wing, teaching him the ways of a criminal, as well as the philosophy (most importantly “never rat on your friends”). With an unhappy home life, the gangsters make Henry feel a part of something bigger than him. Eventually he grows up to be played by the actor, Ray Liotta. Coming off of strong good guy and bad guy performances in Field Of Dreams and Something Wild, Liotta proves to be ingenious casting by Scorsese. Though handsome and charming in a rogue way he’s an offbeat leading man who brings a lot of danger to every role (peaking as the aging, corrupt cop in Narc). As an adult Henry becomes a part of the crew led by Jimmy The Gent (Robert De Niro) and his psychotic nephew, Tommy (Joe Pesci, brilliant in an Oscar winning performance). The film follows their ever-escalating crime schemes peaking with a famous Air France robbery.