Layer Cake is my favorite British one with a bullet because of how it goes at class versus capitalist structures, and how it deconstructs the Guy Ritchie style.
My hot take about Scorsese's work, particularly Goodfellas and The Irishman, is that they benefit from being centered on the men because you can see the well-executed women reacting to them from the outside.
One thing I'll always respect Scarface for as a traditionally-structured three-act mob movie is how is slams the unalloyed misery to pretty much the maximum in the last third. Tony is having the worst time, and you are acutely aware of how bleak sitting in a bubble bath in front of a bunch of monitors, inventing ways to be paranoid is.
It's a lot like being really good at high school football, in that you either mature and move on, or let it mash your brain up.
The way it uses hyperreal, narcotic slow-mo as the perspective of the people being summarily annihilated is diametrically opposed to the muscular aesthetic fascism of 300.
CIA vampire attack expert.