Little White Lies was established in 2005 as a bi-monthly print magazine committed to championing great movies and the talented people who make them. Combining cutting-edge design, illustration and journalism, we’ve been described as being “at the vanguard of the independent publishing movement.” Our reviews feature a unique tripartite ranking system that captures the different aspects of the movie-going experience. We believe in Truth & Movies.
if you think classic black and white movies are dull, we hope this list will change your mind.
The next time a CGI movie makes you sigh with its lack of style and verve, you’ll feel especially awed by The General, a silent black and white movie masterpiece that pretty much epitomes the concept of pulling out all the stops.
Buster Keaton’s character helping the Confederate Army hasn’t aged well. Everything else has. A bit of a bomb in its time, The General is stunning now thanks to its clockwork inventiveness and derring-do. It’s hard to believe anyone made anything this ambitious, so early in the life of cinema.
Keaton, known as the great stone face, throws his body into violent-yet-comic hazards without changing his expression — a skill he developed while being kicked around vaudeville stages by his father, hence the nickname “Buster.” Okay, maybe that didn’t age so well, either.
Fritz Lang’s silent, expressionistic Metropolis somehow still feels futuristic and avant-garde nearly 100 years after its release.
Operatic and vast in scope, it’s a visual feast that moves much slower than modern films — which is a sheer joy if you can allow yourself the time.
Also, it’s moral, literally spelled out in the final inter-title – feels especially relevant in the age of A.I. It is simply: “The Mediator Between the Head and the Hands Must Be the Heart.”
Originally 153 minutes long, Metropolis has been frequently recut, and while we aren’t big fans of chopping down a great director’s work, we think you can grasp the gist of the film with one of the shorter versions.
One of two Frank Capra films on this list. It Happened One Night is a screwball comedy that inspired countless road movies and rom-coms, almost none of them as good.
Clarke Gable and Claudette Colbert have electrifying chemistry as, respectively, a newspaper reporter on the make and a socialite on the run, trying to reunite with her husband. Yes, husband: This movie is fairly gleeful endorsement of extramarital love, and It Happened One Night could get away with that sort of thing because it came out just before the restrictive Hays Code took effect.
It also endorses showing a little leg (shame!) while hitchhiking (shame! shame!). It may leave you with the impression that life was a little more fun about a hundred years ago.
When people say they love old movies, this is likely the old movie they’re picturing. It’s perfect from beginning to end.
Ingrid Bergman, who also appears later on this list, is captivating as Ilsa Lund, a woman torn between love and her duty to fight fascism. Humphrey Bogart, as her ex-lover Rick, is as good a male lead as any movie had ever had.
But Casablanca is a movie where every single person is giving it their all, from director Michael Kurtiz to writers Howard Koch and Julius and Philip Epstein.
Everyone has their favorite moment, but ours is “I’m shocked, shocked” which we think about every time we read the latest headlines.
If you ever long for the good old days, watch this one to remind yourself that people of the past were anything but naive.
John Garfield makes being a drifter look like a good life choice when his character, Frank, wanders into a service station operated by the stunning Cora (Lana Turner). Unfortunately, she runs it with her husband.
Frank and Cora work out a little scheme to take care of that obstacle. It goes about as well as you’d expect if you’ve ever seen a ’40s noir.
The most fun movie ever made about insurance, this noir extravaganza sizzles off the screen in moments like the anklet scene — aka the “how fast was I going” scene — between Fred McMurray as an insurance man and Barbara Stanwyck as a scheming client.
It never goes too fast, which somehow makes it all the more wildly seductive.
It inspired many (often color) films, including 1981’s very good Body Heat, but we still prefer the black and white movie.
High Noon seems to fly by as it unfurls in real time over the 85 tight minutes leading up to the title. Gary Cooper plays Will Kane, a New Mexico marshall ready to ride into the sunset with his new bride Amy (Grace Kelly).
But Frank Miller, a brutal outlaw Kane once sent to prison, will arrive in town at noon, as his gang is ready to meet him. Everyone would understand if Kane slipped out of town to let someone else deal with the disaster to come.
But that’s not what he does.
Did you make it through another holiday season without watching this Frank Capra gem?
If so, like many of us, you may wrongly remember it as a sweet little affair. But no. The film is surprisingly honest about how much failure and struggle are part of the cost of living, and makes a clear-eyed case about why it’s still worth it to press on.
Also, we have to agree with this tweet about how the phone scene between Donna Reed and Jimmy Stewart, despite its lack of anything gratuitous, is pretty hot.
The Alfred Hitchock films of the 1950s and ’60s could get a little slow — but Notorious crackles from start to finish thanks to the presence of one of the all-time greatest actresses, and magnetic lead characters.
Ingrid Bergman is magnificent as Alicia Huberman, whose virtue and morality are in constant question. She juggles endless demands and expectations, keeping her intentions a mystery until the very end.
Cary Grant as T.R. Devlin, a U.S. agent who recruits her. When people start falling in love, things get very tricky.
From the start of theater critic Addison Dewitt’s very unreliable narration (wryly delivered by George Sanders), you know you’re in excellent hands with this showbiz satire written and directed by Joseph L. Mankiewicz.
Bette Davis plays a Broadway star who won’t give up the spotlight, and Anne Baxter is Eve Harrington, a shrewd manipulator ready to take her place. It’s a dynamic we’ve seen a million times since, from The Devil Wears Prada to Showgirls, but no one’s done it with more wit than All About Eve.
When a young Marilyn Monroe is the seventh or eight billed person in the cast, you know you’ve got an incredible lineup of actors.
TMZ might want to take notes from this noir classic, a story of a showbiz columnist, J.J. Hunsecker (Burt Lancaster) who rules Broadway with a velveted fist.
Ruthless press agent Sidney Falco (Tony Curtis) toadies up to him, but proves to be pretty clever himself, as he tries to break up a relationship between Hunsecker’s little sister Susan (Susan Harrison) and a jazz guitarist.
It’s also one of the most beautifully shot black and white movies — the lights of Broadway have never felt so hot.
You’ll find yourself saying again during The Apartment: They made this in 1960? A Mad Men-era story of sex and ambition — and an obvious Mad Men influence — the film is about a young clerk on the make (Jack Lemmon) who has to loan out his apartment to executives who use it for secret trysts with vulnerable women, including one played by an adorable, and vulnerable, Shirley MacLaine.
You quickly finding yourself rooting hard for the have-nots in this film about refusing to bend over for the man.
MacLaine, Lemmon, director Billy Wilder and screenwriter IAL Diamond reunited three years later for Irma la Douce, which revisited some of the themes of The Apartment. It’s not a black and white movie, but don’t hold that against it.
We know, everyone thinks first of the shower scene. But Psycho hooks you long before that with its setup: Janet Leigh’s Marion Crane robs her boozy boss to flee across the Arizona desert to the arms of her deadbeat boyfriend. It’s juicy as hell, even before she checks into the worst possible hotel.
The only thing that keeps Psycho from perfection is its stodgy expository ending that feels unnecessary now, but may have been helpful for a 1960 audience that hadn’t yet seen a million movies about psychos.
You know how Shakespeare plays can feel cliched, but only because they were the first to do something that later inspired countless shallow imitations? Psycho is exactly like that.
Joseph Cotten plays pulp novelist Holly Martins, who arrives in ghostly postwar Vienna to investigate the death of an old friend, Harry Lime. But things aren’t as they seem.
The highlight is an utterly chilling little monologue by Orson Welles as he and Cotten ride a Ferris wheel and look at all the little people below.
We could tell you about all the great film deconstruction critic-turned-director Jean-Luc Godard is doing in this sexy, breezy girl-and-a-gun French crime thriller, but just watch it. You’ll be blown away by how fresh and cool it feels all these decades later.
Also, if you’re not a fan of subtitles, a lot of it is in English. This is one of those black and white movies that may sound like it’s going to be a challenge, but turns out to be as fun as anything you’ve ever watched.
You might also like this list of the 1960s Classic Movies That Are Still a Pleasure to Watch. Several are, yes, black and white movies.
Main image: Ingrid Bergman in Notorious. RKO Radio Pictures.
Little White Lies was established in 2005 as a bi-monthly print magazine committed to championing great movies and the talented people who make them. Combining cutting-edge design, illustration and journalism, we’ve been described as being “at the vanguard of the independent publishing movement.” Our reviews feature a unique tripartite ranking system that captures the different aspects of the movie-going experience. We believe in Truth & Movies.
Little White Lies was established in 2005 as a bi-monthly print magazine committed to championing great movies and the talented people who make them. Combining cutting-edge design, illustration and journalism, we’ve been described as being “at the vanguard of the independent publishing movement.” Our reviews feature a unique tripartite ranking system that captures the different aspects of the movie-going experience. We believe in Truth & Movies.
There’s something magical about casino movies that keeps us glued to the screen. Maybe it’s the way the roulette wheel spins with our hearts racing, or how a poker player’s blank face hides a world of strategy. These films transport us to a world where fortunes change with a single card flip, where ordinary people become high-rolling risk-takers, and where the line between smart play and dangerous obsession blurs beautifully. Online casino movies aren’t just about gambling – they’re about human nature, everyone’s dreams of easy money, and the thrilling dance between luck and skill. Here’s why we can’t look away from these cinematic gems, along with three recent films that mastered the art of the gamble
You will experience the excitement of gambling without losing our shirts. You can cheer when someone puts everything on a poker bet or hold our breath as dice roll across a table, secure in the fact that our money is still in our pockets. It’s a rush – like riding a rollercoaster from the safety of our own chair.
From Monte Carlo’s glittering chandeliers to Vegas’ lights, casino films ignite dream realms we are irresistibly attracted to. Designer tuxedos, champagne coupes clicking together, high- stakes suspense make us imagine members of an elite club in which we all stylishly roll dice.
Aside from the cards and chips, casino movies are all about dramatic narratives of greed, addiction, and redemption. When a bettor puts everything on one hand, we aren’t looking at a bet – we are looking at what people do when they are desperate or determined.
Aaron Sorkin’s directorial debut tells the true story of Molly Bloom, who ran Hollywood’s most exclusive underground poker games. Jessica Chastain delivers a career-best performance as the Olympic skier turned poker entrepreneur. The film stands out for:
Adam Sandler shocked critics with his portrayal of Howard Ratner, a jewelry dealer and gambling addict spiraling out of control. The Safdie brothers direct this stress-inducing masterpiece featuring:
Paul Schrader’s haunting film follows William Tell (Oscar Isaac), a former military interrogator who channels his trauma into poker. Unlike typical casino movies, this focuses on:
Casino movies work because they tap into our deepest fantasies and fears about risk-taking. They let us imagine what we’d do with a lucky streak or how we’d handle devastating losses when dealing with real online casino all from the safety of our seats. These three modern classics show how the genre continues to evolve, offering everything from pulse-pounding tension to deep character studies. So next time you want to feel the rush of the casino without leaving home, these films are your perfect bet.
Directors Bethany Rooney and Mary Lou Belli first teamed up 15 years ago to share their experiences in the moviemaking guide Directors Tell the Story: Master the Craft of Television and Film Directing. And while many things have stayed the same since then, plenty has changed — from streaming standards to the rise of intimacy coordinators to changes in the number of opportunities.
This month, they release the third edition of the book, which is packed with practical gems and updated advice on how to make it as a working director. The directors, whose credits include Elsbeth, Tracker, Criminal Minds: Evolution, The Ms. Pat Show, Chicago Med, and many more, shared some thoughts with MovieMaker about the book and their prolific careers.
We talked with them about starting out, letting the best idea win, and making room for new talent.
MovieMaker: One section of the book details how directors got their first jobs. Can you tell us about your first directing jobs?
Bethany Rooney: I started in the business as secretary to Bruce Paltrow and Mark Tinker on The White Shadow, then became the associate producer of St. Elsewhere, and then Bruce gave me my shot four years in. He believed in giving people their opportunity to direct — and I am forever grateful to him!
Mary Lou Belli: I was an acting coach on the series Charles in Charge and shadowed the director, Phil Ramuno, who was generous enough to let me into both of his shot listing sessions on the aforementioned show and the editing room on another. The EP, Al Burton, gave opportunities to three other desiring women on that same series.
MovieMaker: We have a regular feature called Things I’ve Learned as a MovieMaker. What would be one crucial thing you’ve learned making movies or television over the years?
Bethany Rooney: I believe it’s a three-part process before you even shoot. First you imagine your story. Then you prep it: block and shot list or storyboard it. Then you communicate it. You tell your production designer, your first assistant director, your director of photography, your whole crew, “This is how I see it, this is what I’d like to achieve.” You get them on board with your concepts, hopefully, they’re wildly enthusiastic, just as you are. Then you get to do the really fun part: shoot it. Now you’re getting the actors on board. Now you’re making a movie!
Mary Lou Belli: This is a people business. Your reputation depends on the impression you make and that is critical. It is important to be prepared so you are perceived as an artist who takes the craft seriously. Then it is vital to treat everyone with respect, knowing that they are your collaborators. And finally always give credit when someone has made a contribution.
MovieMaker: What is one problem you’ve solved on a project that you made you particularly proud?
Bethany Rooney: I keep having to learn this same lesson over and over. When I get behind in my schedule for the day, I need to take a look at what is left to shoot and figure out a way to accomplish it more quickly while still telling the story and maintaining the show’s style. The crazy thing is, those scenes are always my favorites! I think it’s because in that pressurized moment, my creativity becomes the driving force. I see the scenes differently, and allow myself to abandon standard coverage.
Mary Lou Belli: During Covid, I had an actor sent home because she had tested positive. The part this actor was playing was pivotal to the scene. She would die by the end of it. I had already shot the master but had yet to finish coverage that would include her close up while she was pummeled with bullets.
I had a suggestion from a camera operator who said that with a handheld camera, he could become the POV of that character watching her love interest, who was also dodging fire. That other character gave a magnificent performance — the camera operator “collapsed to the floor” while watching it.
This scene was based on a true life event of the death of Breonna Taylor.… It turned out to be so much better because this alternate way to tell the story humanized her death through the eyes of the man who loved her. I give credit to the camera operator for suggesting this, and I learned that the best idea wins.
MovieMaker: What recent trends do you see in film or television? Are they here to stay?
Bethany Rooney: Streamers have a different paradigm: They get all the scripts written before they begin shooting. This means that they can cross-board the shooting schedules, which further means that directors are hired usually for a block of two episodes. So now there are four directors for eight episodes. And four other directors are without those jobs. It’s part of the contraction of the industry – and I hope that trend doesn’t stay.
Mary Lou Belli: I see shorter orders and a general contraction in the industry. Where I was used to a TV season offering more opportunities for up-and-coming talented directors, there are just way less chances now. I hope this trend changes, I fear it might not. But it becomes more important for those lucky enough to be working to know that there will be less work, and if we want to ensure that up and coming talent gets a shot, we all have to be satisfied with less work.
MovieMaker: What makes the latest edition of your book special?
Bethany Rooney: Besides the fact that there’s a new chapter on Augmented Reality and Visual Effects, there’s a lot of updates on other areas of television production that have evolved in the past few years, especially as it was affected by the pandemic. Apps for directors, casting, intimacy coordinators, post-production, Zoom… We walk the reader through these new methods.
Mary Lou Belli: All our new and updated info is presented with the spirit in which the 1st and 2nd edition were written: with an eye toward giving inside information through practical application. We don’t hold back about the knowledge we have acquired while we’ve been in the trenches or in some cases prepping to get in the trenches.
For example, a director must study the show they are about to direct or would like to direct. By that keen observation, one figures out the style, tone and look of the show. We take the reader through that process and many more by sharing how we do it or things we have observed.
MovieMaker: Why should every director have your book?
Bethany Rooney: We have learned a lot by directing hundreds of episodes. We’ve also learned a lot by teaching the craft. It’s all practical, detailed, and road-tested. Both of us truly love directing television, and it shows on every page.
Mary Lou Belli: It’s a handbook. It is reference tool. And hopefully it is path toward a dream.
MovieMaker: What are you working on now?
Bethany Rooney: An episode of Criminal Minds – season 19 (!) on Paramount Plus.
Mary Lou Bell: I am wrapping the fifth season of The Ms. Pat Show where I direct as well as executive produce. I am returning in the fall to direct on another season of Elsbeth.
Directors Tell the Story: Master the Craft of Television and Film Directing is available on pre-sale now. Get 20% off with code 25ESA1
American online gaming revenue reached $5.16 billion, and online casino payment methods played a vital role in this success. PayPal stands as the most trusted payment platform, with 78% of Americans choosing it for their online transactions. This shows how payment priorities continue to shape the digital world.
Credit cards and bank transfers remain common choices, but players can now access many more payment options. These include e-wallets, cryptocurrency, and cash deposits at casino cages. On top of that, players expect quick deposits starting at $5 and withdrawals that process within 24 hours from modern online casinos.
Let’s look at the most dependable payment methods for American players to help you understand deposit limits, processing times, and security features. This piece covers everything from traditional banking options to innovative payment solutions that help you pick the best way to fund your online casinos in US account.
American players need to know how to handle online casino payment methods in a complex legal setup. The U.S. banking options work differently from other countries because federal and state laws affect how players deposit and withdraw their money.
The Unlawful Internet Gambling Enforcement Act (UIGEA) is the life-blood of federal laws that control casino online payment processing. The law came into effect in 2006. Players can still gamble online legally, but banks can’t process payments for unlawful internet gambling. Banks and credit card companies must screen and block payments to businesses that act as internet casinos.
Legal online casinos run their operations in several states. Players can enjoy regulated online casino gaming in Delaware, New Jersey, Pennsylvania, Connecticut, West Virginia, and Michigan. Each state has its own licensing authority. The NJ Division of Gaming Enforcement and Michigan Gaming Control Board make sure gambling sites protect your money, data, and personal information.
Payment options vary a lot between different states. Casino operators in the same state might offer different payment methods. The Multi-State Internet Gaming Agreement (MSIGA) controls transactions between states, especially for online poker.
States have different rules about:
Players in New Jersey might see different casino deposit options than those in Michigan or Pennsylvania. Legal gambling sites must follow strict know-your-customer (KYC) and anti-money laundering (AML) rules. These rules decide how you verify your deposits and withdrawals.
Your choice of casino payment options should depend on these important factors:
Security and reliability come first. Pick payment methods that use encryption and strong fraud prevention systems. Licensed casinos work with trusted payment platforms that handle online banking transfers safely.
Transaction speed changes based on your payment choice. Some methods give you instant deposits. Withdrawals can take anywhere from 24 hours to five days.
Fee structures aren’t the same for all methods. Credit cards might charge more for casino deposits as cash advances. E-wallets often cost less per transaction.
Deposit and withdrawal limits start from $5-10 and can go up to $30,000 with certain methods like Skrill. Players who bet big might prefer debit cards, cash deposits, or e-wallets that let them move larger amounts.
Acceptance rates differ between methods. Visa and Mastercard are accessible to more people but might reject gambling transactions more often. Special casino payment services usually work better.
The best payment method matches your banking style, safety needs, and how you like to play. This way, you’ll have a smooth time at online casinos.
Credit and debit cards are the backbone of online casino payment methods. Non-prepaid debit cards make up 56.6% of all card payments in the United States. Credit cards account for 33.7%. You can save time, money, and avoid frustration by knowing how each option works to fund your casino accounts.
Visa leads the pack as the most accepted card at online casinos. People call it the “Swiss Army Knife” of gambling payments. Mastercard ranks second and shows up with Visa at almost every trusted gaming site. Both cards have similar acceptance rates today, but your success depends on your bank.
Some banks like Capital One and Union Bank block all gambling transactions, legal or not. Wells Fargo and Chase let you gamble where it’s legal. Citi and Bank of America usually say no to these transactions as of February 2024.
American Express and Discover lag by a lot behind the market leaders. Amex holds about 17% of the U.S. credit card market with over 44 million American cardholders. Yet, it puts tighter restrictions on gambling transactions.
You’ll rarely see Discover as a deposit option, though some casinos accept it. Data shows Amex usually caps maximum deposits at $750, which is lower than other cards.
Your credit card company might label online gambling as a “cash-like” transaction. This triggers cash advance fees of 3% to 5% or at least $10. These charges start collecting interest right away without any grace period.
Here’s how you can avoid declined transactions:
Debit cards beat credit cards in several ways for casino deposits. They pull money straight from your checking account, so you won’t rack up high-interest debt. You also dodge those pesky cash advance fees that come with credit cards.
Credit cards give you better fraud protection than debit cards. But gambling with credit means you’re betting with borrowed money. This can lead to overspending and make it hard to track your real gambling budget.
Debit cards are the smarter choice for most players. Five states (Tennessee, Iowa, Massachusetts, New Hampshire, and Rhode Island) don’t even allow credit card gambling.
American players need trusted platforms that provide secure online casino payment methods with multiple banking options. Here are five top casinos that excel in payment flexibility, security, and quick processing times. You also can check the best 5 online casinos at https://listonlinecasino.com/.
Red Dog Casino takes payment security seriously with encrypted transactions and multiple banking choices. Players can use Visa, Mastercard, Bitcoin, Litecoin, Flexepin, and Ethereum. The casino’s minimum deposit is USD 20.00 for cryptocurrencies and USD 30.00 for credit cards. Players must complete KYC verification before their first withdrawal. Bitcoin payouts take 1-3 business days to process. Cryptocurrency transactions are the quickest way to get your money right now.
Vegas Casino shines with low deposit limits that start at USD 5.00 to USD 10.00. The casino’s payment options have PayPal (24-hour processing), Trustly bank transfers, and major debit cards. PayPal transactions at Vegas Casino are quick – you’ll get your money in under an hour after review. High-stakes players will love the generous maximum limits, with debit card deposits up to USD 30,000.
Wild Casino stands out with 19 cryptocurrency options, making it perfect for crypto users. Players need USD 20.00 minimum for most crypto deposits and USD 25.00 for credit cards. The casino’s cryptocurrency deposits can go up to USD 1,000,000. Credit card deposits come with fees between USD 6.25 flat rate and 12.5% of your deposit amount.
Super Slots puts crypto first with high maximum deposits of USD 100,000 (or USD 500,000 for Bitcoin). Visa and Mastercard users have lower limits of USD 2,500. Players must wait 3 days after credit card deposits before requesting withdrawals. The casino requires players to wager all deposited money at least once before cashing out.
Las Atlantis welcomes players with credit cards, cryptocurrency, and Flexepin payment options. Minimum deposits vary from USD 30.00 for cards, USD 20.00 for crypto, and USD 40.00 for USDT. Players can withdraw between USD 150.00 and USD 250,000 per transaction. The casino verifies all withdrawals, with Bitcoin taking 1-3 days and card payments needing 3-4 business days.
E-wallets have become a popular choice over traditional online casino payment methods, and 37% of people who bet on sports online now prefer them. These payment platforms make transactions faster and give users more privacy than regular banking options.
PayPal leads the pack as the most trusted e-wallet at regulated US casinos. It watches for fraud 24/7 and uses top-notch encryption. You’ll only find PayPal at fully licensed operators, where it works just like a separate checking account. This means you don’t need to share your bank details with gaming sites. Players who value their privacy will appreciate that PayPal transactions never show up on bank statements.
Millions of users love Venmo because it makes moving money so simple. The app now lets you deposit at certain online casinos and confirms your payment right away. Cash App has caught on with Bitcoin users too, letting them deposit and withdraw using crypto. Bitcoin payouts through Cash App usually happen within 24 hours – sometimes instantly. Users can withdraw up to USD 90000.00 each week.
Skrill works in 163 countries and handles 35 different currencies. Some operators let you deposit up to USD 50000.00 with this gambling-focused e-wallet. Neteller, another big name in global e-wallets, doesn’t work with US casinos anymore. Both services got their start with gamblers in mind, launching in 1999 and 2001.
Mobile payments keep getting bigger in the casino world. Apple Pay has more than 500 million users worldwide and dominates 90% of the US digital wallet market. Face/Touch ID adds an extra security layer that traditional payments can’t match. Google Pay uses cutting-edge encryption and makes you approve each transaction through the app. Right now, these services only work for deposits at online casinos in seven states where online gambling is legal.
Bank transfers are one of the most trusted online casino payment methods Americans use for secure and large transactions. Your bank account connects directly to casino platforms without middlemen. This gives you strong protection through bank-level encryption.
Automated Clearing House (ACH) transfers work as electronic money movements between US banks. eChecks are the digital version of paper checks. The ACH/eCheck casino deposit goes through several steps:
These transactions take 3-5 business days to complete. This is much faster than regular eChecks that need one to two weeks. The fees are budget-friendly at about 0.75% of your deposit amount, which makes them great for bigger deposits.
Wire transfers are the top casino deposit option for high-stakes players. You’ll need at least USD 2500.00 to start. The money moves straight between bank accounts with no upper limits.
High-stakes players love wire transfers because they’re extremely secure and handle large amounts. The only drawbacks are the processing time of several business days and bank fees between USD 15.00-50.00 for each transfer.
Trustly bridges your bank account with online casinos to speed things up. It works with more than 99% of US bank accounts through direct API connections. You just pick your bank from their list and log in with your banking details.
VIP Preferred is a special ACH service that over 500 casino sites accept nationwide. Once you sign up, you can use ACH, online banking, and e-checks with higher limits than regular methods.
Play+ gives you FDIC-insured reloadable accounts made specifically for casino transactions. This prepaid system gives account holders branded cards. Your money stays safe with deposit insurance up to USD 250000.00. Both systems offer higher limits and process payments faster than standard bank transfers.
Players want their winnings fast when they use online casino payment methods. Your payout speed and withdrawal limits depend on several factors that affect how you get your money.
Bitcoin and other cryptocurrencies lead the pack for quick withdrawals. Players can get their funds in under an hour after the casino processes them. E-wallets like PayPal come next, with money arriving in 1-4 hours at leading casinos. Play+ prepaid cards let you access your funds the same day, sometimes in just 12 hours. Your actual withdrawal time depends on the casino’s processing window (24-72 hours) and your chosen payment method’s transfer speed.
You need to complete Know Your Customer (KYC) checks before your first withdrawal. The process needs these documents:
KYC does more than meet legal requirements—it stops underage gambling, prevents money laundering, and spots problem gambling patterns. The first verification can take anywhere from 24 hours to several days. Complete this right after signing up instead of waiting until withdrawal time to speed up future payouts.
The smallest amount you can withdraw ranges from USD 1.00 to USD 15.00, based on your payment choice. Maximum limits show big differences—cryptocurrency users can often withdraw USD 100,000+, while traditional banking methods might limit you to USD 2,000-50,000 monthly. VIP players usually get higher withdrawal limits and faster processing.
The IRS taxes all your gambling winnings. Report them on Form 1040 or 1040-SR (Schedule 1). Form W-2G winnings face a 24% federal tax withholding. You can only deduct gambling losses if you itemize deductions on Schedule A, and only up to your claimed winnings. Keep detailed records of your wins and losses for tax purposes.
American players need to know how online casino payment methods work in the regulated gambling market. Credit cards have some limitations, but new payment options give players more freedom and better security. Players who want the fastest withdrawals should use cryptocurrency as it takes just a few hours. PayPal and other e-wallets strike a good balance between quick transfers and dependable service.
Every payment option needs top-notch security. Licensed casinos use strong encryption, require identity verification, and follow state rules carefully. These protective measures keep your money safe and help transactions go smoothly in places where gambling is legal.
Your gaming style should guide your choice of payment method. Big spenders might want wire transfers or VIP Preferred to move large amounts of money. Casual players could do better with e-wallets or Play+ prepaid cards. Processing speed, fees, and withdrawal limits are key factors that shape smart payment decisions.
Good record-keeping of your transactions is vital because you must report all gambling winnings to the IRS. Payment methods that give you clear transaction records make tax season much easier to handle.
Little White Lies was established in 2005 as a bi-monthly print magazine committed to championing great movies and the talented people who make them. Combining cutting-edge design, illustration and journalism, we’ve been described as being “at the vanguard of the independent publishing movement.” Our reviews feature a unique tripartite ranking system that captures the different aspects of the movie-going experience. We believe in Truth & Movies.
Hélène Cattet and Bruno Forzani presented their fourth film. Reflection in a Dead Diamond in this year’s Berlinale competition. Since it was the most exhilarating film at the festival, I was thrilled to be able to sit down with the couple to discuss this multifaceted work (pun intended).
The Disapproving Swede: So, the project more or less started with Fabio Testi. Could you talk a bit about that?
Bruno Forzani: It’s a long story because my mother was a big fan of Fabio Testi, and my sister would have had the name Fabio if she had been a boy. I discovered him through Italian B-movies, and I loved him. He was also in Zulawski’s L’Important, c’est d’aimer; in 2010, we watched Road to Nowhere by Monte Hellman, and Testi’s character reminded us of Sean Connery.
Hélène Cattet: He was dressed in a white suit. It reminded us about Death in Venice, too. So we thought, “What if we mix those two antagonist universes to create something like a new universe?”
BF: We also saw a staging of Tosca, the opera, by Christophe Honoré. He treated it like Sunset Boulevard, and that kind of treatment was an inspiration for our film. We wrote the script with Fabio Testi in mind. We managed to meet him and were fascinated by him because we saw his eyes just in front of us, which we had only seen in close-ups in movies. We began to talk about directing actors just through the eyes, and it was the first time we met an actor who was used to that.
Then, we told him we would shoot on film, and he was surprised and agreed to do the movie. It was great because Fabio synthesized the mix we wanted to do between this Euro spy genre and Death in Venice. He was in Italian Westerns, but he was in other kinds of films as well, so it was a perfect match.
TDS: When he got the script, his first reaction was that he didn’t understand anything, right?
BF: Yeah, exactly, but it was the same with Monte Hellman. He did not understand the script, but he trusted him, and when we met him, he trusted us, so voila!
How do you synthesize all these ideas and different references to build a story, even if it is a story on your own terms? Your films are mostly vibes, so how do you make a story out of this? Is it organic?
HC: It was really technical this time because we were building the story with different layers of narration. We put one colour for each line of narration, three altogether. Then, we could organize how those layers will interweave and respond to each other. You develop different thematics and different points of view because you can see the movie from different angles. Each spectator can find a way to experience the film so that two spectators can see a different movie. We aim to be playful and create a game for the audience.
BF: When we write the script, we are writing it technically with detailed descriptions of every detail you will see and hear in the movie. It is not typical since we live in a French-speaking culture, and the cinema world is more literate than cinematic.
HC: We really want to tell the story using cinematographic means, not through dialogue.
TDS: You call it storytelling. Is the story the most crucial thing, rather than the cinematic expression, or don’t you see a contrast?
HC: There’s no contrast between the form and the content. It’s one thing. The form tells the story, not the content.
TDS: When it comes to stylistics, I thought a bit about Raoul Ruiz. You mentioned playfulness, and he had a way of toying with clichés and adding narrative layers in a complex, sometimes crystal structure.
BF: You are not the first to say that regarding the film’s construction.
TDS: Gilles Deleuze described Alain Resnais and other directors as having a crystalline structure, but here, we even have a diamond structure where things go through reflections and refractions.
HC: Exactly!
BF: Since the beginning, the word diamond was in the title. It wasn’t the same title, but we constructed the film like a diamond because there are several facets.
HC: Yes, that’s why you can see the movie like a diamond through different prisms.
TDS: You talked about Op art earlier. You have different art styles in all your films. Can you talk a bit more about the use of op art in this film?
BF: The film is about illusion because you don’t know if the past of the hero is an illusion or if it’s reality. The past is represented by this horror-spy aesthetic, where you think the world was funny and very pop-like, but the heroes were violent, in fact. It is a fake representation of the world. Since the film is about illusion, the structure is an illusion, too, because of the different layers. Op art was the perfect art to approach the story visually. In fact, when we began to work on the script, we went to Nice. There was a big Op art exhibition there, which inspired us.
TDS: You mentioned Clozuot’s La Prisionnière. Were there other films using Op art that inspired you as well?
BF: The funny thing is that the Italian B-movies we mentioned are exploitation movies but use a lot of art and Op art. There is also Mario Caiano’s L’Occhio nel labirinto. James Bond films are another example, like The Man with the Golden Gun, where you have a kind of labyrinth, which is very Op art. It’s a very funny art form since it’s mixed with something very popular.
TDS: A last, tangential musical question: You use a piece from Catalani’s La Wally [Ebben? Ne andrò lontana], made famous by the film Diva. Isn’t it the exact same recording as in Diva?
BF: Yes, exactly. In this version, there is an introduction that you don’t have in the original, and I love this introduction. I discovered opera with Diva, and I love that piece.
