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You can skip movies 10 times but never go back.
Young Treasury Agent Elliot Ness arrives in Chicago and is determined to take down Al Capone but it's not going to be easy, because Capone has the police in his pocket. Ness meets Jimmy Malone a veteran patrolman and probably the most honorable one in the force. He asks Malone to help him get Capone but Malone warns him that if he goes after Capone, he is going to war.
In his excellent review of The Untouchables, Cramer K opens up by asking if there has ever been a more bald-faced cinematic thief than Brian De Palma. You would probably expect a huge fan of De Palma's such as I to launch an impassioned defence of him and state that's not the case.
However, to quote a particular excellent episode of Blackadder (doesn't narrow it down, obviously), De Palma is as guilty as a puppy sitting next to a pile of poo. I think the way these things work is that if the director in question is a load of crap and you don't particular like his or her work, it is more likely to bother you. Rarely during gushing…
Brian De Palma's crime/mobster film is one of style over substance. One that I won't comment on its historical accuracy due to me not knowing enough about this period.
What I do know is at the core of the story its factual however the story around the times is probably more for engaging the audience.
What makes The Untouchables so enjoyable is the set pieces of the times being spot on for the 30's prohibition era.
Some hammy acting kept me from loving it however enough of the episodic scenes were enough to make it very enjoyable.
It has been over ten years since I last watched De Palma’s Western inspired gangster movie and sadly time hasn’t been particularly kind to this so-called classic. Not that the film is bad, there are too many talented individuals involved for it to end up being a mess, but it also wastes and neuters their strengths.
Based on the ‘60s TV show, and playing very loose with historical facts, the film tells the story of Eliot Ness, his team of ‘untouchables’ and their quest to bring Al Capone to justice. As a slice of popcorn entertainment, The Untouchables is more than adequate, but given those involved there is the nagging feeling that this is a missed opportunity. Mamet’s script is…
I loved watching The Untouchables when I was younger, but I always thought it had a stranger tone to it. A first look at this western/crime drama infusion gives it a feeling of incompleteness, like something had been rushed and a tone of uncertainty from the director remained in the film. There's no doubt that The Untouchables is one of the far sillier entries in De Palma's insanely versatile repertoire, making it less a historical drama than simply an adaptation of an earlier TV show that already took broad liberties with the original story.
For a film just under two hours, The Untouchables probably could be even better if it were a little shorter. Perhaps cutting out most of the…
You know, maybe I wasn’t the idiot that I thought I was when I was kid.
I’ve just been thinking back to my favourite films when I was a kid, and also my favourite music. My first album was Introspective by Pet Shop Boys. I think that’s a pretty good start. My favourite films were (and mostly are) Jaws, Dirty Harry, Raiders Of The Lost Ark, Star Wars, Predator and The Goonies. Again, I don’t think that’s bad. My favourite people in films were Harrison Ford, Clint Eastwood and Laurel & Hardy.
I’m not trying to blow my own trumpet or anything but I should have turned out alright, shouldn’t I? That’s a solid cultural start in life. Sure, things might…
The Dissolve review (for a Mamet piece). Best damn movie De Palma's ever made, though it should have ended about three minutes after the train station setpiece. Imagine if he'd worked with great writers for his entire career.
A great film with great performances from all the ACTORS. Highly recommend. DePalma was never better!!!
They all account for and fight the antithesis of capital, but the film is too caught up in its own delusional fervor (without fully committing to tipping the edge into a tone piece) to be fully successful, even if Mamet's screenplay is typically incredible.
"All right now, let's do some good!"
This film has some great movie pedigree. It has a great cast featuring legends such as Sean Connery and Robert De Niro. As well as a relatively more recent talent (Kevin Costner). It is directed by Brian De Palma, and has a score by the fantastic Ennio Morricone. In addition, it is written by David Mamet. How is the end result? The film lives up to all of this, and what we get is a great film, and one of the better gangster films.
Sean Connery really steals the show as Malone. This was his big Oscar role, and he does a great job showing that he can play a character in a…
A bizarre film: it features hammy performances, a script overloaded with one-liners, and probably the worst, most emotionally out-of-sync score of Morricone's storied career -- and yet, it's impulsively watchable.
I find that after I watch films.... One part stays with me. Here, it's Andy Garcia's dead eye shot!
Isn't that just like Brian De Palma? Brings a Battleship Potemkin homage to a gangster movie.
More a series of highly cinematic moments than a cohesive film, THE UNTOUCHABLES does not belong on the list of Great Movies because of its fully-developed characters (they aren't) or layered plot (there isn't one). No, it's on there because it's filled with shoot-outs, one-liners, and a rousing Ennio Morricone score, resulting in perhaps the most straightforward and entertaining movie of Brian De Palma's career.
A great example of De Palma's successful "mainstream" filmmaking and his understanding (and in this case capitulation to) audience expectations and desires. The grandiosity of the Untouchables charging on horseback as the (excellent) music swells shows this film's decidedly unironic tone.
As a De Palma film, the style is more muted and workmanlike, but appropriate to the material. And while there are good, quiet scenes, it really is all about the riff on the Odessa steps sequence - an expertly crafted vignette coupling suspense and gravity. Some of the other principal setpieces are less remarkable or even dull.
A true classic film, even more so for a Chicagoan. I forgot how excellent the dialogue is throughout the movie thanks to David Mamet. There might be one or two cheesy moments, such as when the accountant knocks the gangster out with the butt of his gun or when Connery does something similar during their first real raid, but I suppose you have to chalk that up to typical Hollywood dramatization. After reading a bit more about the background of the film and Capone's real life, it seems clear that much of this story has been changed to make it a more worthwhile film (including the fact that Ness was actually an alcoholic in real life), but who cares. It's…
All the films from all the editions, including those subsequently removed, presently totalling 1187. An easy way of seeing how…