All the films from all the editions, including those subsequently removed, presently totalling 1177. An easy way of seeing how…
What are you prepared to do?
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.
• Ennio Morricone is as inspired as ever, doing another splendid score
• Adopt Malone’s unusual methods of persuasion and crime will be solved instantly
• De Palma made it a great gangster flick but there's also a western vibe sometimes
• Sean Connery as the toughest and coolest senior street cop ever
• That memorable stair sequence was so reminiscent of the Odessa steps in Battleship Potemkin
• I am a big fan of Kevin Costner, but this wasn’t one of his most convincing performances
• It would have been great to see De Niro and Connery face to face
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…
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…
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?
This is a visually stunning film with some great period atmosphere. It's a joy to behold, but at times a chore to watch. The score is terrible and annoying, which is surprising because it's Ennio Morricone. The script is mediocre, which is surprising because it's David Mamet. Everything coming out of Robert DeNiro's mouth is gold, but everything coming out of Kevin Costner's is pure corn. Judging from the latter's performance in this film, it's hard to imagine how he ever got to be Hollywood's "it" guy of the '80s and '90s. In contrast, Sean Connery's Oscar-winning performance is still admirable and appealing. Nearly thirty years after it was made, The Untouchables comes across as merely an OK action picture. De Palma's direction is heavy-handed, but the cinematography and art direction are great.
I've seen this three times now and the film worked best in the theater (my second viewing). De Palma's garish Frankenstein-ing of historical cinematic tropes (obviously the quasi-Odessa Steps sequence and when the film goes to Canada and becomes a Western for 20 minutes) plays much better on the big screen.
It's fun to see De Palma play with popular blockbuster material and imprint his obsessions onto it but those films of his (Untouchables, Scarface, Carlito's Way, M:I) have never been my favorites nor did they seem that he was really invested and in the zone while making them.
Not some of Mamet's best work either.
Finally got around to watching this. I liked it, but I think I waited too long. The score is overbearing and schmaltzy. Some of the action scenes are pretty hammy. That whole scene in Canada is unbelievable. And not in the awesome sense, but in the I can't buy that dudes with tommy guns can't hit four guys coming at them on horses. That feels like I'm nitpicking but I guess I'm using that moment to sum up my issue with some of the action. This movie feels older than it is. Like it came out in the 60s. Not that that means its bad, just that it has the editing and fight choreography of an older era. Oh, and I was cracking up when Kevin Costner was dragging that carriage up the stairs. Surprised that baby didn't bounce out of there.
So long ago, but so impressive..
Besproken in aflevering 008
(Segment: Kevin Costner Top 3)
This is the seventh film in my DePalma Deep Dive.
If you were to chart Brian DePalma's career, you'd see a whole lot of ups and downs over the years. But in 1987 when he released THE UNTOUCHABLES, he was at the very top. This is the pinnacle of his career, this is where he peaked. Sure, MISSION: IMPOSSIBLE is the biggest box office hit of his career, and BLOW OUT, maybe CARRIE, are his most critically acclaimed works. But this one is the jackpot. It made a ton of money, many critics loved it, movie stars were born, it won awards, and most importantly, it finally gave Brian DePalma the respect he deserved.
Is it his best film? No,…
Some slightly cheesy scenes, especially during the first hour of this movie. The accountance guy could have been a bit more fleshed out and the final showdown on the rooftop didn't age too well in my opinion. Nevertheless this movie has some incredibly memorable shots that burned themselves into my memory. The thug searching malones house, the cabin next to the bridge ... and of course the woman with the kid at the train station (= FIRE).
--- Light 8 ---
existential, old-fashioned cops overruled by criminals are forced to resort to violence despite all their attempts to rely on the law. feels embellished and hokey until the 40-minute mark wherein the first act of violence is committed – both a warning to Capone’s henchmen and the audience – and you question why you’d ever expect De Palma to keep it (relatively) clean. homicidal set pieces trapped inside a classic, Prohibition-set Hollywood B movie act as reminders of history’s genuine desolation and brutality, despite their polished depiction in the media at the time: some of the best and most iconic sequences here rely on the disquieting weight of the violence, so it’s a shame that De Palma had to turn to something so diplomatic for its redundant finale.
Well, I've spectacularly failed to do the May one, but we'll see how we go with June.
Task # 1:…
Combined the average ratings (Critic's & Users) from IMDb, Rotten Tomatoes, Metacritic and Letterboxd, and then weighted and tweaked the results…