A rousing epic, beautifully photographed, powerfully acted and underlined with one of the most memorable scores of all-time. Add to this the witty dialogue by David Mamet and Brian DePalma's pitch-perfect directing and you have an instant classic. It may not be as ambitious as GoodFellas, but it sure is a lot of fun. And the first liqour raid of the Untouchables still gives me the Goosebumps whenever I see it. (A-)

Spectacular Movie. The acting is terrific across the board (even Costner :wink: ) with Connery and DeNiro making the greatest impressions. Morricone's score just kicks all sorts of ass and of course the film is wonderfully shot.

"Enthusiasms"

A+

Exceptional movie. Great Story, Good score and excellent performances all around, more so by De Niro and Connery. A classic.

A+

Going to see it tonight again.

Untouchables - B+

Good movie, brilliant movie!!!! Great ending, Costner and Connery are great in this!!!!! De Niro was also cooool.

A-


Good acting by everyone involved. Garcia, De Niro and Connery stand out, though. The score is beautiful and most importantly, it is very well intergrated and employed in the movie. The camera work is good, even though not extraordinary. Good job on the screenplay, though. Overall, not a perfect, yet a really good movie.

A+ for me. Many memorable scenes, great dialogues, great story, great actors.. love this film.

I am a Kevin Costner fan, so I am biased on this movie.

It is a great movie, everyone on the top of their game...even De Palma, everyone has already said my sentiments on this film.

Please do not make the prequel to this movie, it will only tarnish this movie's rep.

*bump*

I'm watching it today for my English project, but I'm excited to see it.

The only good Brian Depalma movie ever. A-

Minus because it is a little too cliched. Does every father figure mentor have to die in every movie?

I thought everyone loves Dressed to Kill, Carrie and Scarface.

DePalma is definately a bit over-rated. And I'm saying that having seen that Double Identity one and Blow-Out. That being said, Untouchables was great. I thought it was strong acting, dialogue, timing, nice build of tension considering we all know how it ends, and some fun theatrics.

Haha! The babystroller scene fresh out of Battleship Potemkin!

A-

Great movie. I loved it. Great performances by everyone. Not quite excellent, but I liked it a lot. A-

Oh yeah. You are not from Chicago. :razz:

Personally I walked out of Dressed to Kill, I detested it. As to Scarface, it was somewhat of a flop when it first opened and I never heard anyone back then talk about it, but it became something of a cult hit later on. Carrie -- well I"m not a horror movie fan and especially not that kind.

Just watched it...

I've never been a huge DePalma fan, but this validates his place in Hollywood. This is a near-perfect movie.

I think that the ten minutes in the Chicago train station rank among the most thrilling moments. Even though the idea of five people dying with each step the baby slips down on is preposterous (is that even...possible?), DePalma covers it with great music, great cinematography, and great detail. DePalma makes each step more suspenseful.

There's a sudden urge to laugh at how DePalma portrays death. He uses cliched elements (blood dripping down while we watch, man struggling to get his last word in) with each murder. However, he's attentive of everything else that makes a movie (music, art direction, acting, pace) that the long time it takes each man to fall after gunshots becomes acceptable. Now, that's a good director. Anyone who can cover up style (the filming of the deaths) with more style (every other technique in the big book) deserves a " =D>"

DePalma took a typical mystery of undergrounders, added that "style over substance," yet managed to craft a smooth film that's neither heady nor brain-cell-loss-inducing. I don't know enough about his "Hitchcock" backgrounds, but if he's gotten inspiration from them to create thrills (and, boy, this is quite thrilling), props to Alfred.

Whoa! The grades you folks are giving are way too high. This is one of Depalma's worst picture, its good but not great A material and I can explain why. Alot of the scenes are very cliched especially the accountant guy who runs after the bad guy during the prohabition scene and slugs the guy out, it was very reminiscant of the old cheesy 80s flicks. You may also know the baby carriage scene has been satired too many times because it DOES look silly and the events surrounding it is not believable. I do give him credit for alot of great dialogue in the scene and even the over the top acting done by Deniro as Al Capone but its stuff like the good cop/bad cop cliche that drops the movie down from an A to a B

B

It use to be a B+ material to me but I just recently rewatched it after a 12 year hiatus and it doesnt age as well as Scarface and Carlito's Way

Very good, Connery's best or second best, but Coster could have done a bit better in my opinion, or maybe it was just DeNiro and Connery upsatging him.

A

How could I not absolutely love the film that netted my favorite actor a well deserved Best Supporting Actor Oscar? This is truely one of the greatest movies ever made!

A+

B+/A-

Love the style. It's a pretty empty movie though. De Niro's Al Capone is one big wasted opportunity.

Its not very deep and at times it threatens to veer off into melodrama and inplusability but none of that matters when you get so many all time classic scenes.

The takedown at the Canadian border
The deaths of Jim Malone and Oscar Wallace
The shootout at the Train station
Ness facing down Jims killer, I could go on and on.

The music is pin perfect in very scene and even thought the ending is inaccurate to a degree its a delightful payoff.

It allows us to beleive at least for a while that no matter how big the clouds of darkness there will always be men willing to fight it and once in a while i like to believe that.

A+

A

Wow.

I'm a man who hates my De Palma, so even though I was aware of the film's reputation coming in, I was expecting maybe something on the lines of a letdown, especially considering it isn't in the top 250 on imdb despite mob movies owning on that site, and the fact that I was not very impressed by Godfather and Goodfellas.

But this, this is a near masterpiece. What a ride, this is what cinema is all about. Incredible style, score, pace, and as mentioned, there are just too many classic moments in this film to not like it.

Acting is mostly superb, with Connery deserving his Oscar, and Garcia, Costner, and De Niro despite having little to work with, delivering.

I still have to let it sit in, but at this moment The Untouchables is the definitive mob/crime film for me. If I ever make a movie in this genre... This is how it'll be. Slick, fun, and explicitly stylistic. It might even be in my top 25 films of all time, though that'll require a second viewing.

Depalma's best film, i can rewatch it many times and never get tired of seeing, it has great replay value, also great performances by Connery, Deniro and Garcia.

****/****

A+

in my top 30 alltime.

The Untouchables is a great film. There, I said it. Perhaps that's not an altogether risky opinion. After all, most people would agree with me. However, some people - namely critics - would not hesitate to rank it several places lower on the gangster ladder than, say, The Godfather and Goodfellas."It's not as deep," they might say, "pure entertainment." This is exactly why I love this film and find it to be one of the best in the genre. It's not a rich character study, it's not a sweeping epic covering multiple generations, and it's not a twisted tale of corruption and redemption. It's just a damn fine piece of moviemaking.

The characters in this film are not fleshed-out, multi-dimensional, altogether interesting people. But this is not a knock against the film's quality; like everything else about the film, these individuals are highly stylized and lacking a fair amount of substance. They're larger-than-life heroes and villains. And it works. The story being told is a classical, metaphorical, allegorical tale of good vs. evil, right vs. wrong, white hats vs. black hats. There are no mentions of conflicted allegiances, double-agents, or self-serving motivations. It is just the good guys against the bad guys.

It is true that the story takes many liberties with the real-life accounts of Eliot Ness and Al Capone. Large portions of the film are radically altered for dramatic and narrative purposes. Many characters never existed. But, again, this is not a fault of the film. This movie does not purport to be a documentary or even a historical retelling of famous events: it is just a movie. Situations and events must be dramatized to create suspense, to draw out sympathies, to direct the audience's feelings. I have no problem with fictionalizing historical events for the purpose of the narrative; after all, films are only 'based' on a true story.

This movie is full of so many classic moments that it's difficult to pick a favourite. Of course, there's the memorable scene when the Untouchables embark on their first liquor raid. The wide, iconic shot of the four crossing the street, the fantastic production design remaking Chicago's beautiful La Salle street, Ennio Morricone's incredibly sweeping music - all combine to make a brief scene that is certain to be remembered on many a film montage in the future. There's the sequence at the Canadian border, which - despite my patriotism flinching at the pathetic portrayal of the Mounties - utilizes the same music and cinematography to maximum effect. And, obviously, there's the brilliant homage to the Odessa Steps scene in Battleship Potemkin, complete with a couple sailors caught in the crossfire. This climatic scene is by far the most thrilling of the film, stretching on for what seems like an eternity but never losing its suspense or excitement. It is, truly, a film of memorable moments.

Sean Connery certainly deserved his Oscar, as he owns the screen whenever he's on it and makes us pine for him whenever he's off. His character is by far the most developed (despite the focus being on Ness) and thus his performance is by far the best. Costner is given little to work with besides a rather boring goody-two-shoes protagonist, and De Niro chews scenery like there's no tomorrow, but Connery draws us in and makes us stay there. It's one of the more deserving Oscar wins I can think of, and it's a fitting tribute to not only the actor, but to the film itself.

As said before, this is definitely no Godfather. In fact, I would liken this film more to something like Star Wars than Scarface. It certainly owes much more to the pulpy serials of the '40s and '50s than the dark sagas of the '70s and '80s. It never pretends to be anything more than a piece of entertainment, and it excels at that brilliantly. Every single aspect of the production is top-notch, from De Palma's recognizable direction to Mamet's solid script to Morricone's amazing score, making for what I believe to be one of the greatest gangster films ever made and certainly a landmark in recent cinema.