Not the "Greatest Mafia Movie Ever Made" but really good.

Somewhat overpraised at the the time of its U.S. release in 2008–”Greatest Mafia Movie Ever Made,” declared the Boston Herald–Matteo Garrone’s Gomorrah is nonetheless an accomplished and gritty mob film with superb cinematography. Anchored in a Napoli housing project, Gomorrah uses the very-real exploits of the Camorra crime family to fashion a workaday, hyperviolent world of shakedowns, beatdowns, murders and gang wars. In addition to the usual drugs, guns and extortion rackets, the family members have branched out into the very profitable business of chemical dumping–very profitable for the survivors, at least.

What distinguishes the movie most, however, is color scheme and composition used by Garrone and his cinematographer Marco Onorato. Scenes in tanning parlors and hallways are shot with a sickening green-yellow hue that emanates from fluorescent bulbs like a miasma. Other scenes frame gorgeous architecture and sculpture in the background of mob dealings, juxtaposing a country of brilliant antiquity and modern thuggery. They’re images that persist, refusing to let the mob ugliness fade after the blood dries.