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7.7
/10
11,261 Ratings

Scarface

Directed by Brian De Palma
United States, 1983
Crime, Action, Drama

Synopsis

This remake of the 1932 Howard Hawks film of the same name substitutes the crime world of 1920s Chicago with the drug trade of 1980s Miami, as violent, megalomaniac Cuban drug lord Tony Montana ascends the mob ranks.

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Scarface Directed by Brian De Palma

Critics reviews

Reviled upon its release, Scarface has become one of the true cult-movie monoliths of its era, casting a long shadow over hip-hop culture and also its director’s subsequent work; a few years later, The Untouchables made more money and won Sean Connery an Oscar, but it can’t compare to its predecessor’s ugly, incandescent spectacle.
April 11, 2018
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De Palma needed a grabber after the financial disaster of BLOW OUT, and he delivered in spades: a headline-ripping, three-ring circus of excess, causing an epic battle with the MPAA over its ultraviolent set-pieces and spare-no-expense disreputability.
June 17, 2016
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What are people saying?

  • El Biffo's rating of the film Scarface

    5 stars for the Oliver Stone script and Pacino's performance, 2 and a half stars for the rest of this incredibly tacky film.

  • lbunuel's rating of the film Scarface

    Although I'm pretty far from being a De Palma fan, I am able to enjoy some of his stuff, mostly because there is some real talent in his precise decoupage. But here, with Oliver Stone's typically over-the-top writing and a terribly kitsch structure that never accepts its farcical nature, everything is simply unbearable. This is one of the most annoying - and overrated - films I've ever seen.

  • Nicholas Gregory's rating of the film Scarface

    Due to its scant runtime, 1932 ran into a lot of trouble in its pacing: cramming so many events into itself that it did it un-seamlessly. 1983 is nearly 80 minutes longer, therefore its crime-story epicism of a kingpin's rise and fall is actually developed; its dramatic and emotional beats are more pronounced. 1983 is still largely uber-dark melodramatic storytelling, but it's much more engaging than 1932.

  • Richmond Hill's rating of the film Scarface

    No anti-hero hagiography here: instead a cartoonish, satiric hatchet-job on vulgarity and excess, edged in political comment (typical of Stone). By not hedging it’s bets from the outset this rises above similar studies in organised crime - Scorsese take note - into a glorious opera of squalidly grand gestures and posturing machismo, revealing the pathetic man beneath the glitter - this is no plucky immigrant story.

  • Henri de Corinth's rating of the film Scarface

    Rewatch. Opinion is the same: If I'm supposed to take this seriously as a dramatic film, then the only two interesting elements here are [1] the incest taboo between Tony and Gina and [2] the character of Elvira. These two characters are the only ones who suggest an inner life, and are the closest this film gets to distinguishing itself from any other gangster film. Everyone else in this is a mindless, boring thug.

  • Huey McEvoy's rating of the film Scarface

    Perhaps the single most ridiculously camp film ever made. If The Godfather is the Shakespeare of gangster movies, then this is the Wiseau. The story of how a man, driven insane by his incestuous guilt and diminutive stature, gets high on his own supply, adopts a terrible Cuban accent, and invests in some quite dreadful lacquered furniture. Absolutely bonkers.

  • André Vieira's rating of the film Scarface

    The man wanted a tiger so he bought a fucking tiger. That, my friends, is true power. Yes, I know, he also built an empire but what really matters here is the correlation between the verbs "to want" and "to have".

  • Lights in the Dusk's rating of the film Scarface

    A brash, Day-Glo coloured, plastic-operatic-fantasia of excess that is essentially 'about' excess; the excess of 80s capitalism against the corruption of the American dream. While far from Stone's greatest script, the film has a tremendous energy; the powerhouse combo of Pacino's performance, De Palma's direction & Scarfiotti's design resulting in something that's part Hitchcock's Godfather, part avant-garde "event."

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