Federal agent Elliot Ness assembles a personal team of mob fighters to bring Chicago crime boss Al Capone to justice using unconventional means during the mob wars of the 1920s. This fictionalized account of the arrest of Al Capone is heavy on style and gunfire. The end shootout combines a baby carriage and stairs with a nod to Eisenstein’s The Battleship Potemkin. —IMDb
Brian De Palma is one of the well-known directors who spear-headed the new movement in Hollywood during the 1970s. He is known for his many films that go from violent pictures, to Hitchcock-like thrillers.
Born on the 11th of September in 1940, De Palma was born in New Jersey in an American-Italian family. Originally entering university as a physics student, de Palma became attracted to films after seeing such classics as Citizen Kane (1941). Enrolling in Sarah Lawrence College, he found lasting influences from such varied teachers as Alfred Hitchcock and Andy Warhol.
At first, his films comprised of such black-and-white films as Bridge That Gap (1965). He then discovered a young actor whose fame would influence Hollywood forever. In 1968, de Palma made the comedic film Greetings (1968) starring Robert de Niro in his first ever credited film role. The two followed up immediately with the film The Wedding Party (1969) and Hi, Mom… read more
The hostility towards this film is baffling. From Morricone's score to the cinematography, The Untouchables oozes in style, and you only need to see the unforgattable train-station shoot-out to figure that one out. Historically inaccurate? Maybe, but I'll be damned if anyone can top De Niro's Al Capone. Some corny dialogue and poor direction aside, I find The Untouchables is as solid as the rest of De Palma's movies.
Admittedly, De Niro's Capone was good, and the baby carriage/train station scene in the end was interesting camera work, but both together account for a thin slice of the total of the film, and not enough to redeem it from everything else. It's a cliche to say 'i wish i could have my 2 hours back', but that's precisely how it felt. Could have had so much more fun organizing my socks instead. Comparing this to Scarface? Now, that's baffling.
I've rarely ever been to a film and come out saying "I want my two hours back" so those must be some very strong feelings you hold against The Untouchables. As I said before, it's baffling. This was always a movie about style over substance which shouldn't be seen as all that perverse, especially when it's De Palma. As for comparing The Untouchables to Scarface? I was tempted to mention it originally. While I am partial to the operatic qualties of the film and Oliver Stone's fantastic dialogue, I feel ashamed by what it has become. Tony Montana is a fascinating character but the way he's perceived, as if an idol of success and inspiration, blows the whole thing out of proporation. Now THAT is baffling.
Having watched this again recently, I can't believe that when I was younger I didn't notice that Kevin Costner ruins literally every single scene he's in. His presence turns this film from a very good movie into a subpar one. I almost want to commend him for his stalwart dedication to sucking.
Total dross. A Pauly Shore flick wouldn't cause as many eye-rolling moments as this film did. Perhaps that's due to a combination of expecting more from such a cast (De Niro, Sean Connery and Garcia at least), the absolute lack of depth of the characters allied with the over the top uber epic emotional score that would pop up at each corner of this mediocre movie. Unengaging. 2/5 just for De Niro's face.
Quite a few words spring to my mind when I think of The Untouchables. Words like: Excellence, entertainment, larger than life and Sean Connery. These words basically summarize the entire film from… read review