Al Pacino delivers a memorable role that easily could have gone totally over-the-top and become comedic but instead he feels dangerous and believable. The movie itself had an ensemble that at the time consisted of mostly unknown actors who delivered excellent work that made them famous and the story holds up well today even if some scenes scream of sensationalism.
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  the incest taboo between Tony and Gina and  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.
Boy, oh boy. The film is campy, but so was Miami (and the rest of the world) in the 80s. I loved all the suits, chest-hair and static hair-do's, not to mention Tony's mansion! The only thing cooler than the soundtrack by Giorgio Moroder was Pfeiffer's bitchy attitude and fierce style. A more colourful and caliente version of "The Gothfather", "Scarface" is equally long but I doesn't take itself too seriously.
Un film fort contesté, encore aujourd'hui, qui a rapidement acquis, pour certains, ses galons d'oeuvre culte. Les admirateurs de Brian de Palma retrouveront ici son habituelle griffe et la cohorte de citations auxquelles ils sont habitués. Les autres pourront s'irriter d'une mise en scène complaisante et emphatique. Il est autorisé de préférer l'inoubliable chef-d'oeuvre de Howard Hawks... www.cinefiches.com
Phat 80s synths, tonnes of cocaine, a multitude of choreographed cranes and zooms and Michelle Pfeiffer bumping for the entire film while looking ridiculously chic. Set to the backdrop of 1980s Miami, it's structured as pivotal beats in Tony Montana's life - the subtle genius of Stone's script is there's barely any actual crime. Plus, there's a montage for THE ENTIRETY OF PUSH IT TO THE LIMIT. De Palma's masterpiece.