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Just perfect...

The film never slows down or bores, plunging from one harrowing sequence to the next.

The film may be flawed, but its message is not.

An old-fashioned movie made with new-fashioned finesse.

What this movie is trying to say is that the best way to worship God is by caring for your neighboor. The message is provided in a kind of extreme way but thats what I got after all. The other 3 movies from Scorsese that I have seen I didn't like but this one ... man, this is good stuff.

I'm stretching it just giving it a 6.. I loved Goodfellas,,Casino, Departed etc.. but this early film by Marty was at best just an average slice of life film for me.. It never pulled me in like other of his films did.. It just came off as too amateurish. The storyline was all over the place and none of the characters on screen ever stood out..Having to yell their lines somehow makes it more dramatic ?? Yes, there was a lot of new talent there that would achieve so much more later in much better films, Mean Streets to me was nothing more than just a stepping stone to their careers...

Never thought I'd find a Scorsese movie boring, but this is beyond boring. I was struggling to stay interested after 30 minutes. There's no real plot, not character development, some scenes just exist and serve no purpose. I'm willing to give Scorsese some slack here, because this was before "Taxi Driver" when his career really took off, but it's not a lot of slack, because the movie's still boring as hell. Thankfully, the movie's so forgettable, that in a couple of days I'll have forgotten about 95% of it, and it was a pretty quick sit for me losing interest so early. It's a good thing Scorsese's career was able to kick off a couple of years later, because this was not a good start if you ask me.

Scorsese's first personal movie is a gangster epic that has all the hallmarks of the director's tour-de-force style that would reappear later in his career: from the fresh tracking shots to the unnerving camera angles, particularly one sequence where a camera is strapped to Keitel and the viewer takes part as he stumbles into a drunken stupor. The only real difference between this film and later offerings like GOODFELLAS is the budget, which at this stage in Scorsese's career wasn't great. Nevertheless the director crafts a plot-heavy epic which really puts across a picture of life in the big city, possibly more so than his second collaboration with De Niro, TAXI DRIVER.The film is quite slow-paced, which may be off-putting to some, and there isn't a great deal of the director's trademark violence to punctuate the more mundane moments as in his later movies – aside from the powerhouse climax, in which the red paint flows leaving the viewer feeling as if they've been punched in the face. Keitel is fantastic in the leading role and brings a real compassion to the part of the guy whose love for his friends gets him into serious trouble. However, as might be guessed, De Niro steals all his scenes here, as a small-time psycho who likes nothing better than to shoot his revolver from rooftops and beat up strangers on the street. De Niro is twitchy and deranged and scarily believable in this part, yet sympathetic at the same time too. He infuses his character with dynamism whilst at the same time invoking fear at the inescapable consequences of his actions. So, there you have mean streets: a typical enough gangster epic, infused with the energy of its young director and two stars, with enough originality, charisma, and hard-knuckle realism to make it a more than worthwhile watch.