Thanks for bringing out the dummies Netflix.. If this review doesn't get at least 20 dislikes I'll feel ive been sold a false promise. Mcu and other modern dog

You know what, I have to eat humble pie here because once upon a time, when I first saw this film as a young adult I didn't think much of it.

I'd have reviewed it saying it was overly long, not enough action and a bit boring.

How times have changed! Where once I'd have rated Goodfellas was the better film I now most definitely think otherwise. Don't get me wrong GF is a great film but it's not one of the greats, I think Goodfellas is more of a quick gangster fix, definitely the first of a modern breed of blunt instrument Gangland films, ones which are full of brash characters, lots of gruesome killing and a hit parade soundtrack.

Once upon a time in America is the opposite, a carefully crafted and honed (near) masterpiece of cinematic character storytelling. You feel part of what you're watching, transported back to a different era. Just half a step behind The Godfather in my estimation.

This is a joy to watch again and no doubt I'll watch it many more times. Ignore the negative reviews stating it's boring, no doubt mainly Millennials with the attention span of a Gnat.

It's been said that when one watches a "spaghetti" western (one of the "Man with no name" films with Clint Eastwood) filmmaker Sergio Leone's trademark cinema style and flair for clear storytelling is instantly recognizable. This is no truer than in his most ambitious effort, Once Upon a Time in America, in which his usage of close-ups, concise camera movement, sound transitions and syncs, and the sudden change in some scenes from tenderness to violence. And, he pulls it off without making the viewer feel dis-interested. Of course, it's hard to feel that way when watching the cast he has put together; even the child actors (one of which a young Jennifer Connelly as the young Deborah) are believable. Robert De Niro projects his subtitles like a pro, with his occasional outburst in the right place; James Woods gives one of his first great performances as Max; Elizabeth McGovern is the heart of the film; and Joe Pesci should've had more than just a one scene appearance, thought it's still good.

It's a story of life-long friends, in the tradition of the Godfather movies with obvious differences, and the story cuts back and forth to Noodles (De Niro) in his old age returning from exile, looking back on his childhood in Brooklyn, his rise to power with his partners, and the twists come quite unexpectedly. The pace is slow, but not detrimental, and it gives the viewer time to let the emotions sink in. The story is also non-linear, and yet doesn't give away facts to the viewer- this is something that more than likely influenced Tarantino (and many others) in style. By the end, every detail that has mounted up makes the whole experience rather fulfilling, if not perfect. Finally, I'd like to point out the exceptional musical score. Ennio Morricone, as it says on this site, has scored over four hundred films in forty years, including Leone's movies. This would have to be, arguably, one of his ten best works- his score is equally lively, saddened, intense, and perhaps majestic for a gangster epic. Overall, it's filled with the same spirit Leone had in directing the picture, and it corresponds beautifully- there are some scenes in this film that would simply not work without the strings. Grade: A