All the films from all the editions, including those subsequently removed, presently totalling 1177. An easy way of seeing how…
AL CAPONE. He ruled Chicago with absolute power. No one could touch him. No one could stop him. Until Eliot Ness and a small force of men swore they'd bring him down.
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.
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…
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…
Film 30 of The June Challenge
"Here endeth the lesson."
Right from the first few seconds of that opening credits sequence, you know that this is going to be good. Aided by a fantastic Ennio Morricone score, Brian De Palma manages to create a stylish and occasionally gritty crime thriller that manages to capture the 30's atmosphere brilliantly. Plus, the supporting cast includes Sean Connery being, well, Sean Connery and Robert De Niro as Al Capone who despite not actually having loads of screentime, has a presence felt throughout the entire film, whilst being genuinely threatening in the scenes he is in.
I did mention the soundtrack was amazing, right?
Has there ever been a more bald-faced cinematic thief than Brian De Palma? I mean sure, there's Quentin Tarantino, but at least Tarantino steals from movies that nobody has seen. De Palma steals from movies that everybody has seen. And yet, and yet... I still kind of admire the guy. Granted, his recent output has been impressively terrible (with the noted of exception of Femme Fatale, a movie I will defend until my dying breath). But when he's on his game he's the like the DJ Shadow of modern cinema, taking samples from all over the movie world and combining them to make something unassailably cool.
So how does The Untouchables fit into the De Palma canon? Not very well,…
great film, I don't know why but watching Kevin Costner's performance in this movie is so fukkin frustrating.
Albeit heavily cliché, a good watch. Some astounding shots/sequences.
This is a first time watch for me, so I'm seeing it without being mislead by a haze of nostalgia. Judging by the amount of Oscars it was nominated for this movie may have been great for it's time. If that's true... Then it definitely didn't age well.
I'm no expert in film making but I'd say my biggest problem with this, is directing. The action scenes could have been amazing, but we're filmed in an almost clumsy manner. Despite Connery winning in the category of best supporting actor, I wasn't really impressed with any of the acting in this film. Same goes with the Oscar nominated score by Ennio Morricone, which I found to be out of place and sometimes distracting.
The cast and the reputation of the film just had my expectations quite high, but I still enjoyed it overall.
De Palma contó con todos los medios posibles para llevar a la pantalla la exitosa serie de televisión de los años 60. Los empleó sabiamente. Los intocables de Elliot Ness es una de las grandes películas de su tiempo. A ello contribuyen el ritmo endiablado imprimido por su director, las memorables secuencias álgidas, el carisma de los intérpretes –hasta el generalmente anodino Costner da la talla- y la magnífica música de Morricone.
Un enorme espectáculo visual, sustentado por un atinado guión de David Mamet, que el espectador disfruta de principio (¡esos créditos!) hasta el brillante “one liner” final.
dt. - synchro nicht zu empfehlen
De Palma can be hit or miss honestly but I think we can all agree this is one of his hits. It is absolutely a glossy, slick, old time, melodramatic film but that tone fits the story perfectly. Throw in a typically great Morricone score, Mamet script, and a good supporting cast and we're really cooking. Costner is...well, Costner. He's as magnificently average as ever. It lacks any of the grittiness of De Palma's previous gangster epic Scarface but then Oliver Stone and David Mamet are rather different screenwriters aren't they? Like Tarantino, De Palma has a knack.for lifting bits from other films but doing so gracefully, here borrowing liberally from Battleship Potemkin in one of several highly memorable scenes. I just wish we had gotten more of.De Niro as Capone, because it's such a great role for him (though I think we can all agree Stephen Graham kind of killed that role.for anyone else with his amazing.work on.Boardwalk Empire).
This is hilariously dramatically inert especially in relation to Costner's atrocious performance. And the central dramatic and thematic conflict of whether or not Costner will betray his ideals in order to catch Capone comes off as pretty morally reprehensible given that the movie eventually kinda settles on the point that Costner should just kill whoever he deems guilty or manipulate the legal system to serve his own vision of justice. But there are some pretty fun set pieces here that make this not a complete waste of time. There's a great tracking shot through the hallways of the police station where crucial narrative details are raised at the beginning of the take that build suspense as the camera begins to…
Boy is Kevin Costner a zero in this movie.
Still, some classic scenes combined with beautiful cinematography and a strange, baroque 80's Ennio Morricone score make up for the movie's many flaws
Tight as hell, good acting. Bloody and gritty. Me like. And of course. Mr De Niro!
Every film that has ever been nominated for an Academy Award in any category. Enjoy!
Combined the average ratings (Critic's & Users) from IMDb, Rotten Tomatoes, Metacritic and Letterboxd, and then weighted and tweaked the results…