Warren Beatty's effective and original envisioning of a classic comic book story is today a very underrated film with a rich colorful palette of action-oriented thrills, some proper noir tribute stunts, and a very complex and visually impressive design, featuring Beatty himself as the scrupulous detective that finds himself in the middle of both professional and emotional conflicts. The universe the film creates precedes future projects like Sin City and countless others like a true boss, and throughout, the movie combines an unstoppable quick pace with a good score and a hilariously awesome villainous Al Pacino in a role that is just too campy to be true. The story is not something out of the ordinary, but boy, does this deliver the goods with some unique style!

I also find the hate against Madonna as funny as Pacino's inflated evil face quoting presidents and philosophers while screaming at his zombie-like mob thugs.

76/100

Imagine you're a Disney executive and you want a piece of that sweet Burton Batman money so you give Warren Beatty a truckload of money and Danny Elfman and you say, "give us a comic book movie" and then every day you check the dailies and you wonder what the fuck Beatty is doing.

one of the pulpiest and best looking films i’ve ever seen. storaro’s case for the best cinematographer ever is so strong.

So bad I didnt finish it.

Delightful. Beatty and Pacino go at it without reserve, and each understands what the material demands. This is pulpy, stylish fun and a great tribute to the noir genre that also manages to stand on its own as an inspired technical and artistic vision. I wish more movies were as willing to be as spirited and silly as Dick Tracy while still respecting the audience’s interest. 

EDIT: Dustin Hoffman as Mumbles never stopped being funny.

Neben Batman (1989) die beste aller Comic-Verfilmungen.

100 Degrees/100 Movies
The early 90s were a weird time in Hollywood: superhero films hadn’t yet saturated the market and were still allowed to be dark and pulpy, and also Warren Beatty was dating Madonna. Dick Tracy tries to combine these two concepts into one film, but despite Beatty’s best efforts at staying true to the comics, it still felt very flat, with his characters feeling less animated then their namesakes, with the exception of Al Pacino who just goes off the rails. Still, the production design and art direction is stellar, even if the whole thing feels very Batman-esque (jfc Danny Elfman is a one-trick pony).

Also: I know this film won an Oscar for its makeup effects, but it was just so grotesque that it became distracting, like watching Garbage Pail Kids or whatever. Sorry, McCabe.

Theatre

Walkout after about an hour. Till then an completely aesthetically stilised movie that somehow manages to look absolutely ugly. There are some shots that probably would have taken my breath away if somebody like, say, De Palma, Verhoeven, Burton, Bigelow or Petzold would have filmed them; here I thought, yeah, good idea to put your camera there but the only thing the actual Image does to me is bore me out of mind.
And putting the Al Pacino of the time (three years before CARLITO'S WAY!) in a mask where his only means of expression is his voice is close to a criminal act...

I was never really into the comic very much. I remember my mother figured out the "twist" about five minutes into the movie. Pretty good soundtrack, though.

YOU AIN'T GONNA CATCH ME COPA!!! AYYYY, DICK TRACY I'M WALKIN ERE!