The film recounts the rise of four Infamous gangsters: Lucky Luciano, Meyer Lansky, Bugsy Siegel, and Frank Costello. The four begin as members of youth gangs on the streets of New York, fighting and hustling as they learn the rules of the street and form strong friendships that benefit them as they grow into their teenage years. The beginning of Prohibition provides them with an entry into organized crime, and under the mentorship of seasoned gangsters such as Arnold Rothstein, they build up a lucrative bootlegging empire.
Despite their success, the four come into conflict with the established leaders of the Mafia, who dislike the idea of working with other criminal organizations to maximize profits and compete with each other for power and influence. Believing that the Mafia must restructure itself in order to thrive, Luciano and Lansky recruit Siegel and Costello to eliminate their bosses and assume control, setting up the Commission and dividing the New York underworld between five families.[2]
On Rotten Tomatoes, the film holds an approval rating of 9% based on 33 reviews. The website's critics consensus reads: 'Despite an abundance of style and some big names, Mobsters can't escape its empty plotting, numbing violence, and Gangster Movie 101 concepts.'[3] Audiences polled by CinemaScore gave the film an average grade of "B" on an A+ to F scale.[4]
Variety wrote that "Mobsters resembles a cart-before-the-horse case of putting marketing ahead of film-making, as the seemingly can't-miss premise of teen-heartthrob gangsters gets lost in self-important direction, a shoddy script and muddled storytelling."[5]
According to Roger Ebert, the movie's violence and bloodshed are so far over the top that 'they undermine the rest of the film, and approach parody'; he gave it two and a half out of four stars.[citation needed]
Slater said he was hoping that the film would be like the much more successful Bugsy, but this did not happen: 'Our movie ended up in bits and pieces all over the world," he said. "They had different versions flying to Japan, Europe and every other place. There were extended versions, shortened versions; all kinds of weird versions. In my opinion, audiences never got to see a full film. Somewhere in all that mess, there was a legitimate story. It was there in the script.'[6]
