Beneath the varnish of flashing lights and free cocktails, casinos are built on a bedrock of mathematics designed to slowly bleed their patrons of cash. For years, mathematically inclined minds have tried to turn the tables by using their knowledge of probability and game theory to exploit weaknesses in a rigged system. They’ve been unsuccessful.

Casino is a movie about gambling, crime and power, focusing on the tumultuous rise of mobster Frank “Lefty” Gusenberg (Robert De Niro) and his scheming to become the top dog in the Vegas casino world. Unlike other movies that glamorize Las Vegas, Casino digs deep, revealing its history of organized crime and laying bare the seedy underbelly of this party city.

The film is not without violence, but Scorsese uses it sparingly. The torture of a man with a vice, the murder of Joe Pesci’s character, and the car bomb that kills De Niro’s character are not merely shocking for their shock value or style; they are accurate depictions of what really happens in a casino.

Casino is also notable for its use of the camera to create a sense of place. The cinematography by Conrad L. Hall is masterful, creating a moody, surreal atmosphere that draws the viewer in. It is the only movie I know of that uses the camera to capture the true feeling of a casino, rather than simply showing us what happens there. From the moment you enter the casino to the moment you leave, you feel like you’ve been there.