All the films from all the editions, including those subsequently removed, presently totalling 1167. 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…
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…
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.
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,…
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?
Actors -- A
Direction -- A
Writing -- A
Music -- A
Such a silly film. The silliest sometimes.
Continuo não sendo um grande fã do filme, mas tão linda a decupagem.
it doesn't don't get any better than this
Before Scarface, Brian De Palma's strength was making suspense thrillers, almost taking the baton from Alfred Hitchcock, but putting his own spin on things. After the success of Scarface though, De Palma became successful in a new venture of making gangster movies, with The Untouchables being one of his most acclaimed films, and then later Carlito's Way. The Untouchables is also a period piece set in 1930s Chicago, also out of De Palma's usual comfort zone. Being a stunning director though, he tackles and it and puts his own stamp on things. This film is epic with lots of bloody violence, about as gory as a lot of horror films of the time and practically matches Scarface in terms of…
Every time I watch this film I am almost convinced that this is the only film Sean Connery has ever done.
It wouldn't be the worst thing, because he is just SO EFFING BRILLIANT in this!!
Costner is so bland and uncharimatic that even him "winning" feels like an unhappy ending. Costner is also the 4th most interesting actor in the gang of four untouchables. At first, I was bothered by these two facts but they may actually be part of the film's design.
Because the film is such a strange mashup of Hollywood fluff and De Palma/Mamet quirks, an interesting invisible tension develops - standout visual setpieces with classic De Palma camera work are paired with simple dialogue scenes in terse Mamet speak, followed by the most banal studio genre stuff. The film is all of these things at once. De Palma is doing something mildly subversive and the key is in Costner's family scenes.…
"Here endeth the lesson."
I have a vivid memory of my teenage self arguing with a friend who counts this among his favorite movies that De Palma "ripped off" the train station shootout from Battleship Potemkin. What a twerp I was.
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…