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When “Gomorrah” was released in 2009, it was hailed by audiences and critics alike as a mob film like no other as a result of it revealed, as an alternative, the grubby, traumatic, awfulness of life lived in a gang-ridden city. Gritty, flashy, funny, cinematic gold, “GoodFellas” is Martin Scorsese’s mob film par excellence. One of the oft-lamented issues with mob movies is that they’ve a habit of constructing gangster life look fun. Starring Beatty as Clyde and Faye Dunaway as Bonnie, it is thought of by some to be some of the influential films of its period. The movie is a not-so-exaggerated analogue for our personal gun-loving, media-saturated era populated by social-media celebs who go to absurd lengths to be famous. Other than its standing as one of many longest single-take sequences in American movie historical past, it is also a bravura set-piece that brilliantly illustrates the intoxicating enchantment of being a made man. The American burlesque show grew to become extra a revue than a play, with separate sections featuring comics, singers, dancers, magicians, and at last, a one-act musical play, parodying pop tradition. But what actually makes “Bonnie and Clyde” really feel perpetually contemporary is its depiction of two charming, charismatic, media-hungry psychopaths introducing a brand new brand of movie star killer to the American landscape.