The Untouchables: proof that Brian de Palma was definitely studio-compatible [critique]

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Arte reruns the classic with Kevin Costner and Sean Connery.

This Sunday, the 7th channel will offer a great classic of American cinema: The Untouchables by Brian De Palma. Released in 1988, it traces the hunt for Al Capone by Eliot Ness and his team of police, and has been a great public and critical success. If he is not at the top of our De Palma ranking (he is still in the top 10), First really liked this film and advise you to (re) see it tonight. Here is our review.

Brian de Palma’s films ranked from worst to best

After Scarface, (we do not count the infamous Mafia salad), The Untouchables is the second film of the “Standardization” for De Palma who enjoys a big budget and one of the most beautiful castings of the 80s. Sometimes criticized, and rightly so, for his direction of actors, he employs perfectly Kevin Costner, Sean Connery and Robert De Niro, all impeccable in bespoke iconic roles. The Scottish actor is refining his character of omniscient mentor, released on Highlander, that he will replay at will in the 90s without reaching the greatness of this Jim Malone who has the best punchlines and who perishes with honors during an anthological subjective sequence shot, typically depalian. If the signature effects are a little conspicuous, this real beautiful big blockbuster (let’s not forget the score of Ennio Morricone whose theme for the death of Charles M. Smith is one of his finest) proved to the industry that Brian de Palma was definitely studio-compatible.

The Untouchables: when the legend of Al Capone comes to the screens

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