Tag Archives: Al Pacino

#2 Favorite Film, 1974 Films, Al Pacino, Best Picture Oscar Winners, Connie Mason, Danny Aiello, Diane Keaton, Drama, Epic, Favorite Film of the Year, Francis Ford Coppola, Harry Dean Stanton, James Caan, John Cazale, Mario Puzo, Michael V. Gazzo, Mob, Robert De Niro, Robert Duvall, Talia Shire, Tony Sirico, Top 10 Films, Top 100 Films, Top 25 Films, Top 250 Films, Top 50 Films

The Godfather: Part II-1974

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The Godfather: Part II-1974

Director Frances Ford Coppola

Starring Al Pacino, Robert DeNiro

Top 250 Films #2

Scott’s Review #197

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Reviewed: November 25, 2014

Grade: A

Frances Ford Coppola’s sequel (and technically also a prequel) to the highly regarded and successful The Godfather (1972) is one of the rare sequels to equal, if not surpass, the original in its greatness, creativity, and structure.

The Godfather Part II (1974) feels more profound, more complex, and ultimately richer than The Godfather- and that film itself is a masterpiece. Part II is much darker in tone. Francis Ford Coppola had complete freedom to write and direct as he saw fit, with no studio interference.

The results are immeasurable in creating a film masterpiece.

The film is sectioned into two parts, which is an exciting and practical decision.

The story alternates between the early twentieth century, following Don Corleone’s life, now played by Robert DeNiro, as his story is explained- left without a family and on the run from a crime lord, Don escapes to the United States as a young boy and struggles to survive in the Little Italy neighborhood of New York City.

He obtains a modest job as a grocery stockboy and finally celebrates his eventual rise to power in the mafia.

The other part of the film is set in 1958, as Michael Corleone faces a crumbling empire, with both rivals and the FBI investigating him and holding Senate committee hearings in Washington, D.C., and a failing marriage to Kay (Diane Keaton).

Betrayal is a common theme of the film, as Michael’s wife, brother, and mobster allies are revealed to be cagey enemies. Michael becomes increasingly uncertain and mistrustful of almost everyone around him. Is Kay a friend or foe? Is Fredo plotting against him? He even begins lashing out at Tom Hagen on occasion.

What makes The Godfather Part II so brilliant, and in my opinion richer than The Godfather, is that it is tougher to watch- and that is to its credit. Now, instead of being a warm, respected member of a powerful family, Michael is questioned, analyzed, and betrayed.

New, interesting characters are introduced, including Hyman Roth, played by Lee Strasberg, a former ally of Don’s, and Frankie Pentangeli, played by Michael V. Gazzo. These characters are intriguing, and their allegiances remain unknown throughout most of the film: are they loyal to the Corleones or deadly enemies?

The character of Michael evolves from conflicted to all-out revenge-minded, including seeking revenge against members of his own family. Michael is now a dark, angry character- gone is the nice, decorated war hero with his whole life ahead of him.

He is much older and has changed.

Similar to the original Godfather, the opening scene is a large celebration- this time, Anthony Corleone’s first communion celebration.

Additionally, the film’s finale involves the deaths of several significant characters one after the other.

Unique to this film are the multiple-location scenes, featuring New York, Nevada, Italy, Florida, and Cuba, which make for an enjoyable segue throughout and a more substantial budget.

The blow-up confrontation between Michael and Kay is devastating and shocking in its climax. When Michael punches Kay in a sudden rage, the audience feels punched as well.

The incredible scene at the end of the film, with the entire family gathered around for Don’s fiftieth birthday in 1942, is a special treat for viewers; familiar faces make cameo appearances.

I love these aspects of the film.

The rich history of Don is the most significant aspect of The Godfather Part II, known as “Godfather” and patriarch of the family. His life as a boy and young father is explained, so we see how he became one of the most powerful men in the crime world.

I love how he remains a decent man and helps people experiencing poverty and the victims of ruthless Don Fanucci, his predecessor. He loves his wife and children, but also loves his neighbors and helps them, believing in the principle of fairness.

Ultimately, the characters of Don and Michael are worlds apart.

The Godfather Part II (1974) is one of the most complex and well-written films in movie history- studied in film school, discussed, imitated, and championed.

It remains vital and should be viewed and analyzed repeatedly.

Oscar Nominations: 5 wins-Best Picture (won), Best Director-Francis Ford Coppola, Best Actor-Al Pacino, Best Supporting Actor-Robert De Niro (won), Michael V. Gazzo, Lee Strasberg, Best Supporting Actress-Talia Shire, Best Screenplay Adapted from Other Material (won), Best Original Dramatic Score (won), Best Costume Design, Best Art Direction (won)

#4 Favorite Film, 1972 Films, Al Pacino, Best Picture Oscar Winners, Diane Keaton, Drama, Epic, Favorite Film of the Year, Francis Ford Coppola, James Caan, John Cazale, Mario Puzo, Marlon Brando, Mob, Robert Duvall, Sterling Hayden, Talia Shire, Top 10 Films, Top 100 Films, Top 25 Films, Top 250 Films, Top 50 Films

The Godfather-1972

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The Godfather-1972

Director Frances Ford Coppola

Starring Marlon Brando, Al Pacino, James Caan

Top 250 Films #4

Scott’s Review #196

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Reviewed November 24, 2014

Grade: A

The Godfather (1972) is one of the most identifiable and brilliant film masterpieces of all time. It is so ingrained in pop culture and film history that it was a blueprint for 1970s cinema, and its legend deserves to live on.

The film has not aged poorly nor been soured by over-exposure. It is as much a marvel today as it must have been when it was initially released in theaters.

The film revolves around the Corleone family- a mob family living in New York. They are high-powered, wealthy, and influential with politicians and law enforcement alike. They are the cream of the crop of organized crime families.

The patriarch of the family is known as “The Godfather”; his real name is Don Corleone, played by Marlon Brando.

The eldest son is hot-headed Sonny, played by James Caan. Middle son Fredo, played by John Cazale, is dim-witted and immature, serving as the family’s weak link.

Finally, the youngest son is the central character in the film. Michael, played by a very youthful Al Pacino, has just returned home from World War II, a decorated and Ivy League-educated hero.

Throughout the film, Michael wrestles with steering the Corleone family business toward the straight and narrow or continuing the death, bloodshed, and corruption that currently plague the family.

Rounding out the Corleone family is Tom Hagen, an Irish surrogate son of sorts, who serves as the family attorney. Connie, the temperamental and emotional sister, and Mama Corleone, the passive wife of Don, complete the prominent family.

The various supporting characters are numerous, ranging from family friends and relatives to corrupt mob figures and those introduced when Michael lives in Italy.

The brilliance of The Godfather lies in the richness of the numerous characters on the canvas, as well as the film’s structure and pacing.

Even minor characters are vital to the film, and every scene is essential and effortlessly paced, so that they neither seem rushed nor dragged out; the film is immeasurably character-driven.

My favorite character is Michael Corleone, as he is the most troubled and complex of all. Pacino plays him to the hilt as, initially, a nice guy trying to do the right thing, going against the grain, and non-traditional- he proposes to a WASP woman who has no Italian heritage.

When events develop in a particular way, Michael suddenly becomes the leader of the family, despite being the youngest son, and the complexities of the character deepen from this point.

Specifically, the revenge killing sequence is brilliant as the viewer is kept on the edge of their seat through a car ride, a meal in a restaurant, and a men’s room scene, until finally, all hell breaks loose, all the while Michael is conflicted, unsure, and intense.

Has he veered too far from being a nice guy? Can he salvage the family business without being ruthless? Michael faces a battle of good vs. evil.

The scenes are brilliantly structured- the grand opening scene alone is beautiful as the audience is introduced to the entire family- cheerfully dancing and frolicking during a bright and sunny outdoor wedding (Connie’s) at the Corleone estate, while inside a dark interior study, a man begs Don Corleone to help avenge his raped and beaten daughter by having her attackers killed.

Several scenes in The Godfather are my personal favorites —the aforementioned restaurant scene, where Michael is faced with a dilemma involving a corrupt policeman and a high-powered figure. One can feel the tension in this extended scene.

The scene in a Hollywood mansion where poor, innocent, horse Khartoum meets his fate in the most gruesome way imaginable.

Later, Michael’s beautiful Italian wife, Apollonia, has an explosive send-off.

Towards the end of the film, there is an improvised scene featuring a tomato garden with an elderly Don Corleone playing with his young grandson.

Finally, the brutal scene involving Corleone’s son Sonny at the toll booth is mesmerizing, murderous, and flawlessly executed.

The lack of any strong female characters and how women are treated (either beaten or passively following their husbands) is bothersome.

Still, unfortunately, circa the 1940s, this was the way things were.

One could argue that Kay Adams, played by Diane Keaton, is the strongest female character, as she questions the Corleone family’s motives and attempts to keep Michael honest and trustworthy. She has little in common with the other female characters.

Lines such as “I’m gonna make him an offer he can’t refuse” and “Don’t forget the cannolis” are unforgettable and quote-worthy.

The finale of the film is breathtaking —a combination of bloody kills mixed with a peaceful scene of Michael accepting the honor of becoming his nephew’s godfather. As he pledges his devotion to God and denounces Satan, the murders he orchestrated are simultaneously being executed.

The character, while complex, suddenly becomes a hypocrite.

Some view Michael as strictly a hero whose choices should not be questioned or analyzed; others view Michael as not a hero, but rather a complex, tortured, and flawed character.

One must watch The Godfather and The Godfather Part II (1974) as companion pieces, as Part I is slightly more straightforward and easier to follow than the more complex and layered sequel.

The Godfather (1972) is storytelling and filmmaking at its absolute best and continues to influence films to this day.

Oscar Nominations: 3 wins-Best Picture (won), Best Director-Francis Ford Coppola, Best Actor-Marlon Brando (won), Best Supporting Actor-James Caan, Robert Duvall, Al Pacino, Best Screenplay Based on Material from Another Medium (won), Best Costume Design, Best Sound, Best Film Editing

#84 Favorite Film, 2019 Films, Al Pacino, Austin Butler, Brad Pitt, Brenda Vaccaro, Bruce Dern, Dakota Fanning, Damian Lewis, Danielle Harris, Drama, Emile Hirsch, Favorite Film of the Year, James Remar, Julia Butters, Kurt Russell, Lena Dunham, Leonardo DiCaprio, Lorenza Izzo, Luke Perry, Margaret Qualley, Margot Robbie, Michael Madsen, Mikey Madison, Quentin Tarantino, Rumer Willis, Scoot McNairy, Sydney Sweeney, Toni Basil, Top 100 Films, Top 250 Films, Walton Goggins

Once Upon a Time in Hollywood-2019

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Once Upon a Time in Hollywood-2019

Director Quentin Tarantino

Starring Leonardo DiCaprio, Brad Pitt, Margot Robbie

Top 250 Films #84

Scott’s Review #926

Reviewed August 1, 2019

Grade: A

Once Upon a Time in Hollywood (2019) is another brilliant offering by one of the most (deservedly) respected directors of the modern film era.

This film may be his most personal as it includes many cinematic references and immerses itself in the Hollywood lifestyle. Toned down considerably from the violence standard in his other films, the first half lays the groundwork for a startlingly good second half with every detail of utmost importance.

A bevy of riches awaits any viewer enthusiastically feasting their eyes on this film.

The time is 1969, as actor Rick Dalton (Leonardo DiCaprio) struggles to reinvent himself and revitalize his career in Hollywood amid a changing cinematic landscape.

Famous for a popular western television series from the 1950s, Bounty Law, a pursued film career has not taken off, and he is reduced to guest appearances as the villain, then considered throwaway roles, in other episodic series.

His stunt double and best friend, Cliff Booth (Brad Pitt), accompanies him almost everywhere, serving as both sidekick and errand boy.

Meanwhile, famous director Roman Polanski and his wife, actress Sharon Tate (played by Argot Robbie), have moved into the house next door, which Dalton hopes will help him revitalize his career aspirations.

As Tate goes about her daily life of running errands and watching her movies in the theater, she is visited by Charles Manson one day, looking for the former resident of her house.

Historical viewers are familiar with the subsequent events that unfolded in real life, as Tarantino presents a fictional and tantalizing version of the events.

The film’s length is two hours and thirty-nine minutes, quite robust but typical for a Tarantino production. Some may complain about the bloated running time, but the film never drags; instead, the director lays out all the pieces carefully like a fine chess game.

By the mid-point, all hell breaks loose with one of the most suspenseful and edge-of-your-seat scenes in film history. When Cliff drives a flirtatious young hippy hitchhiker, Pussycat (Margaret Qualley) to a range populated by Manson followers, he is in for the adventure of his life…..if he survives.

Once Upon a Time in Hollywood is an orgy of cinematic tidbits, featuring a myriad of clips from forgotten films of the late 1960s and popular songs from that era.

This is just the tip of the iceberg in greatness as Tarantino perfectly immerses the viewer into the time with fury and zest. Every set piece, costume, hairstyle, or car is flawlessly placed. Kraft macaroni and cheese, Velveeta cheese, and popular dog food from the period are featured.

Tarantino is a fan of cinema and makes cinema lovers fall in love with cinema all over again.

The cast is humongous, but each character is necessary and perfectly represented in roles large and small.

The haunting troupe of Manson followers, specifically Tex Watson (Austin Butler), Squeaky Fromme (Dakota Fanning), and Susan Atkins (Mikey Madison), are all real-life figures. They are foreboding, dangerous, and crucial to the story.

Al Pacino shines in the small but pivotal role of Schwarz (not Schwartz), Dalton’s agent, while Steve McQueen’s look-alike, Damian Lewis, on-screen for merely seconds, is memorable.

The list of cameo performances goes on and on and on, and the fun is wondering who may appear next.

Despite the incorporation of big-name stars in important minor roles, the best performances belong to DiCaprio and Pitt. DiCaprio’s best scene takes place alone in his trailer as the washed-up star botches his lines thanks to a hangover, causing a delay in filming.

He abuses himself into nailing the scene, receiving kudos all around, while becoming teary-eyed after a compliment from a young actress.

Pitt has never given a better performance than he does as Cliff, sharing his best scenes with his adorable dog Brandi and with DiCaprio.

Who can ever forget his chest-baring rooftop scene?

Quentin Tarantino scores again with a bombastic and flawless picture, his ninth release. Rumored to retire after his tenth film, one can hardly fathom the reality of that statement. Hismovis can be watched and watched again, continuously absorbing new and noteworthy details of rich texture.

Once Upon a Time in Hollywood (2019) easily joins the ranks of great works, not just of the director’s catalog, but of all time.

Oscar Nominations: 2 wins-Best Picture, Best Director-Quentin Tarantino, Best Actor-Leonardo DiCaprio, Best Supporting Actor-Brad Pitt (won), Best Original Screenplay, Best Sound Editing, Best Sound Mixing, Best Production Design (won), Best Cinematography, Best Costume Design

#203 Favorite Film, 1975 Films, Al Pacino, Charles Durning, Chris Sarandon, Drama, LGBTQ+ Drama, LGBTQ+ Films, Sidney Lumet, Top 250 Films

Dog Day Afternoon-1975

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Dog Day Afternoon-1975

Director Sidney Lumet

Starring Al Pacino, Chris Sarandon

Top 250 Films #203

Scott’s Review #185

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Reviewed October 13, 2014

Grade: A-

Director Sidney Lumet successfully sets the smoldering hot summer afternoon in New York City for his 1975 film Dog Day Afternoon, as Al Pacino plays Sonny, an unemployed, desperate man who, while married with two kids, has a gay lover, Leon, (brilliantly played by Chris Sarandon) who he is attempting to help finance a sex change operation.

Based on a true story, Sonny, along with his dimwitted friend Sal- played by John Cazale, decides to rob First Brooklyn Savings Bank.

Predictably, their plans go awry when Sonny burns a ledger during the robbery attempt and a pedestrian sees the smoke and alerts the police.

As the police become aware of the attempted heist, a standoff ensues between Sonny and the cops, led by Detective Moretti, played by Charles Durning, and the robbery receives media coverage.

Most of the action is set inside the stifling hot bank and directly outside on the street and gradually the supporting characters come into play- the hostages, Sonny’s mother, wife, and lover all make contact with Sonny in some way or another and his motivations become clearer to the audience.

Dog Day Afternoon is a somewhat message movie that is anti-establishment, in this case, anti-police and questioning of the government and the financial establishment, (Lumet also directed Network, challenging establishment).

This is evidenced when after a standoff with police, the crowd sides with Sonny as he chants Attica! Attica!, which is a direct reference to a recent prison riot.

Sonny speaks for the working class- the poor, struggling, underpaid workers who cannot afford to feed or adequately take care of their families.

The heat and humidity compare perfectly to the pressure felt by most middle-class people that still resonates today and leaves the viewer contemplating his or her life.

Sonny relates to the bank tellers who do not make much money. Besides, Sonny is sympathetic to the audience in another way. Leon, recently hospitalized at Bellevue Hospital, is emotionally dependent on Sonny. He would be lost without him.

They share a lengthy and heartfelt phone conversation that is the heart of the film- gay romance had not been explored this way by 1975 in cinema, and the romance was neither shoved down the audience’s throat nor was it looked past entirely.

Their relationship is tender and deep, yet still somewhat ambiguous.

Would they stay together? What would become of Sonny’s wife and two children? Would he leave them for Leon in a world that was not ready to accept two homosexual men together? Is that the reason for Leon’s desire for a sex change operation?

Chris Sarandon, in too small a part, is wonderful as the gay lover, struggling with a sexual identity crisis. Al Pacino gives, per usual, a brilliant portrayal as he takes on a complex character who is far from one-dimensional.

Perhaps not a masterpiece, Dog Day Afternoon, is a very good film, but neither is it strictly a gay-themed movie nor an action/thriller- it’s more complex than that.

Ironically, Sonny is portrayed as the hero of the film as it is not a standard good police versus bad bank robber type of film- quite the contrary. It is much, much more than that.

Oscar Nominations: 1 win-Best Picture, Best Director-Sidney Lumet, Best Actor-Al Pacino, Best Supporting Actor-Chris Sarandon, Best Original Screenplay (won), Best Film Editing

1980 Films, Al Pacino, Crime Thriller, Don Scardino, Ed O'Neill, James Remar, Karen Allen, LGBTQ+ Films, Paul Sorvino, Powers Boothe, Richard Cox, Thriller, William Friedkin

Cruising-1980

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Cruising-1980

Director William Friedkin

Starring Al Pacino, Paul Sorvino, Karen Allen

Scott’s Review #1,469

Reviewed March 9, 2025

Grade: B+

Cruising is a 1980 effort that brought the LGBTQ+ community into mainstream cinema at least for a brief moment shortly before HIV/AIDS changed its image and trajectory.

The film was derided by critics and gay rights protesters who believed it stigmatized them.

Decades later, Cruising has become more accepted and even admired by some, especially in the LGBTQ+ community. It’s a film that most community members have heard of, allowing it to make its mark in cinema history.

William Friedkin, famous for directing The French Connection (1971) and The Exorcist (1973), writes and directs the film, loosely adapting it from a novel by The New York Times reporter Gerald Walker.

The story is about a serial killer targeting gay men, particularly the men associated with the leather scene in the late 1970s. A psychopath is scouring New York City gay clubs and viciously torturing and stabbing gay men to death.

Resembling the victims physically, Detective Steve Burns (Al Pacino) is asked to wear leather attire, and frequent the city’s hardcore clubs to lure the killer.

As Steve becomes immersed in club hopping, he begins to identify with the subculture more than expected. Meanwhile, he behaves distantly around his girlfriend, Nancy (Karen Allen), the police force’s homophobia becomes apparent and the killer remains at large throughout one hot summer.

Initially, Richard Gere was slated to star but Pacino ended up with the role.

Pacino, being Pacino, gives it his all in an uneven script and unclear character motivations. The ending is exceptionally muddled and peculiar, leaving an unsatisfying feeling, while I also somewhat admire its ambiguity.

Dusting off this relic was an absolute pleasure. It gave me a glimpse into the LGBTQ+ leather scene of long ago, with authentic New York City gay clubs and clubgoers.

Cruising also features a variety of exterior NYC locales, such as Columbia University, the Meat Packing district, and an opening view of the Manhattan skyline.

Though too young to remember the scene being showcased, I do remember traveling into Manhattan to go to work with my father as a very young boy and the dangerous city I was always warned about.

Friedkin and cinematographer James Contner exceptionally depict New York City in the late 1970s/early 1980s. The gritty and crime-ridden streets capture the time like similar films Taxi Driver (1976) and Gloria (1980) did.

I also adore seeing the clubs and bars from an LGBTQ+ perspective, though I’m unsure if non-LGBTQ community members would appreciate this aspect of the film.

Nonetheless, fans of Pacino should add this to their list. While not on par with his most tremendous role as Michael Corleone in The Godfather series (1972-1995), he was in his prime before he started overacting and taking on inferior roles.

It’s also a damned good crime thriller!

Cruising reminds me of a Dirty Harry (1971) film only set in NYC, particularly the killer. With a low and taunting voice, and a fondness for teasing his victims before killing them, the similarities are apparent and work well.

The killer’s motivation is weakly explained in a flashback with his father.

Since we more or less see the killer’s identity early on, the film is not so much a whodunit until the final scene when another character is found dead after the killer is apprehended.

Is the new killer Steve or the victim’s jealous boyfriend? Is Steve closeted? These questions are left unanswered.

The production is superior and the glowing park scenes with shadows and insect sounds only enhance the thrills and perils of the characters.

The film shows plenty of bare male asses unusual for this time in American cinema and dares to show plenty of simulated and apparent complete on sex. Forty minutes of X-rated male-on-male action footage needed to be cut, in which Pacino may or may not have participated.

While the screenplay has gaping holes and the conclusion less than satisfying, Cruising (1980) is a win in my book for showcasing an unrepresented group of people and taking me back to a fascinating time.

2021 Films, Adam Driver, Al Pacino, Biography, Crime Drama, Drama, Jack Huston, Jared Leto, Jeremy Irons, Lady Gaga, Ridley Scott, Salma Hayek

House of Gucci-2021

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House of Gucci-2021

Director Ridley Scott

Starring Lady Gaga, Adam Driver, Jared Leto

Scott’s Review #1,244

Reviewed April 10, 2022

Grade: B+

Upon the release of 2021’s House of Gucci, much award buzz surrounded the film, especially for Lady Gaga’s performance. A story of a once lofty Italian fashion family of the 1970s, 80s, and 90s seemed a prime winner on many levels.

Sadly, reviews quickly turned mediocre or downright lethal as more and more people saw the film, reducing it to a meager one lonely Oscar nomination in a category viewed as minor.

The accolades were expected to be much loftier, but the buzz was tarnished very quickly. Critics largely dismissed the work as too campy and melodramatic for its own good but did praise the acting. Some ripped it to shreds entirely.

Mainstream audiences were a bit kinder than the average critic.

While I recognize the criticisms and even agree with some, mostly its uneven pacing, I find House of Gucci a resounding guilty pleasure. The main appeal is Lady Gaga, who takes charge, playing an unlikable manipulator whom you shouldn’t root for but will anyway.

Here is a brief synopsis for those not familiar with the real-life story of the rise and crumble of the Gucci empire.

The shocking true story of the family behind the Italian fashion empire inspires the film. When Patrizia Reggiani (Lady Gaga), an outsider from humble beginnings, marries Maurizio Gucci and all his wealth, her unbridled ambition and manipulations tear the once close-knit family apart.

The family legacy quickly unravels and triggers a domino effect of betrayal, decadence, revenge, and murder.

With a cast including heavyweights such as Al Pacino, Jeremy Irons, Salma Hayek, and Jared Leto, there is much to focus on in the acting department. Besides Hayek, who plays a psychic, all contain Gucci blood.

All are terrific except Leto, who suffers from overreaching for the stars in terms of the emphasis he puts on being a red-blooded Italian man. He overacts.

Notably, all the principal cast members are American, not Italian, which is why I found their language, culture, and mannerisms to be authentic, a testament to their talent.

The fact that the legendary Ridley Scott directs House of Gucci is a surprise. Known for either science fiction or different sorts of offerings like Alien (1979), Blade Runner (1982), and Gladiator (2001), House of Gucci feels like a stretch for the seasoned director by way of subject matter.

Perhaps he phoned it in? There is little that is a cinematic spectacle in House of Gucci and its straight-ahead drama. Some argue it’s shot like a television movie. While I disagree that it’s as dismal as all that, I do get the point.

From the camera lens, the film is saved tremendously by the juicy and lavish sequences that transpire in Milan, Italy. The decadence of the 1980s is never more apparent than amid the fashion capital of the world.

With luxurious estates, nightclubs, and enough exterior scenes to satisfy anyone who has been to Milan (I have!), it’s enough to save most viewers from the ho-hum story.

I’ve mentioned earlier how House of Gucci feels uneven. It’s hard to pinpoint precisely, but there’s a feeling of a gaping hole or something missing from the film. Sure, there is enough drama and schemes to make television’s The Bachelor proud, but there is a glaring misfire throughout.

I would have assured that Lady Gaga made the Best Actress Oscar list, but sadly, this was not to be. This is too bad because she gives it her all as badass Patrizia. She is a woman not to be fucked with, and when she turns the tables on her husband and the love of her life, he had better watch out.

It’s a shame that all the dots didn’t connect for House of Gucci (2021).

With such a terrific cast, juicy locales, and a respected director, the film could have been a contender. Instead, it’s a pretty good film that does not need to be watched a second time.

Oscar Nominations: Best Makeup and Hairstyling

1995 Films, Al Pacino, Ashley Judd, Bud Cort, Crime Thriller, Danny Trejo, Dennis Haysbert, Jon Voight, Michael Mann, Natalie Portman, Robert De Niro, Ted Levine, Thriller, Tom Noonan, Tom Sizemore, Val Kilmer, William Fichtner

Heat-1995

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Heat-1995

Director Michael Mann

Starring Al Pacino, Robert De Niro, Val Kilmer

Scott’s Review #1,228

Reviewed February 12, 2022

Grade: A-

Fans of the popular 1980s NBC television series, Miami Vice will recall that Michael Mann was the Executive Producer of the show during its run.  He has a distinctive crime thriller style that goes perfectly well with Heat, a sizzling 1995 offering starring two film greats-Al Pacino and Rober De Niro.

The fact that the pair do not appear too often on screen together can be forgiven because when they are the stars align and the power of quiet scenes cannot be outdone. I savored over the moment when they first appeared together. Quality over quantity.

De Niro plays Neil McCauley, a lifelong criminal who is trying to handle damage control caused by one of his men, while also planning one last big heist before retiring to parts unknown. He meets a lovely young Los Angeles-based artist played by Amy Brenneman in a diner and the two plan to relocate abroad.

Meanwhile, Lieutenant Hanna (Al Pacino) is a seasoned officer attempting to track down McCauley and his cohort while dealing with the chaos in his own life, including the infidelity of his wife (Diane Venora) and the unhinged mental health of his stepdaughter (Natalie Portman).

McCauley and Hanna discover mutual respect, even as they try to thwart each other’s plans. The two characters become doppelgangers of one another. The situation comes to a cat-and-mouse-based conclusion on the tarmac of LAX airport.

To say that Heat is a by-the-numbers 1990s thriller is a fair assessment although it’s way better than that classification and it’s of that genre.

For starters, the acting is superior, and obviously, De Niro and Pacino bring a level of professionalism to the film in the lead roles. My favorite scene is not the one you’d most expect me to say but rather a quiet and powerful chit-chat in a small coffee shop. They are rivals, having lived opposite lives, and yet have troubled lives that mirror each other.

Without a doubt, Hanna wants to bring McCauley to justice, and yet he admires him and sees parts of himself in the man. The feeling is mutual and the two actors relay this revelation without actually speaking the words. Viewers immerse themselves into the characters pivoting from this powerful scene.

There are a ton of characters in Heat but each one feels like he or she has much to offer. Juicy storylines are introduced but never forgotten even if not part of the main canvas. Hanna’s wife and stepdaughter play a central part in the final act even though they mainly appear during the first chapter.

In supporting roles, Val Kilmer and Ashley Judd share beautiful chemistry and a melancholy storyline as a damaged couple trying to survive surrounded by a life of crime.

At two hours and fifty-two minutes, there is plenty of time for each character to make their mark.

I love the rich character development that Heat offers but sometimes it’s admittedly tough to keep track of the motivations of the characters and how they tie into the main action.

Mann’s style is all over the place and even the musical score brought me back to the episodic song intervals that Miami Vice created. The moody and dark atmosphere of dingy and crime-infested Los Angeles is perfectly placed against glossy and glamorous high-rise and sprawling estate scenes. The bright and luminous city skyline is a feast for the eyes.

The cop/criminal dynamic is the main draw as Heat flexes its masculine muscles scene after scene. A bloody bank heist gone wrong at the beginning of the film cements what Mann is trying to create here. A guy’s film with enough juice to hook the introspective film viewer too.

Not remembered as well as it probably should be, Heat holds up surprisingly well when put up against similar but hokey 1990s action films like Lethal Weapon and the Die Hard films.

Though there’s not a whole lot that is new in Heat (1995), rich writing and powerful acting win out every time, and of course, Pacino and De Niro are worth the price of admission.

1993 Films, Al Pacino, Brian De Palma, Crime Drama, Drama, John Leguizamo, Luis Guzman, Mob, Penelope Ann Miller, Sean Penn, Viggo Mortensen

Carlito’s Way-1993

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Carlito’s Way-1993

Director Brian De Palma

Starring Al Pacino, Sean Penn, Penelope Ann Miller

Scott’s Review #1,224

Reviewed January 29, 2022

Grade: B

Brian De Palma would be firmly planted in my Top 10 favorite directors of all time- maybe even the Top 5. His daring and juicy Dressed to Kill (1980), and horrific Carrie (1976) are still visually mesmerizing to me.

Carlito’s Way (1993) takes De Palma into New York mobster territory similar in vein to his 1983 disappointment Scarface (1983). Both star Al Pacino.

The latter is set in Miami while the former offers many reminders of its New York City setting like street signs and other exterior trimmings of the Big Apple, especially in Spanish Harlem.

Sequences also occur on Long Island, New York, and Rikers Island.

The film is based on two novels written in the 1970s when the events in the film are supposed to be set. This doesn’t work as well as you might think but more about that later.

Carlito’s Way itself is a solid mobster film that borrows from many others including Scarface, The Godfather (1972), and Goodfellas (1990). If I were to take ten mobster films it might get lost somewhere in the middle.

But it’s still an above-average watch and sprinkles pleasant De Palma familiarities like slow-motion dreamlike sequences and a terrific chase through the subway and Grand Central Station that will bring a smile to Dressed to Kill fans.

It’s just not one of the best Brian De Palma films nor one of the best mobster films.

Released on a technicality after years in prison, Carlito Brigante (Pacino) swears to give up his criminal ways, but it’s not long before the ex-con is sucked back into the New York City underworld thanks to his shady lawyer and friend Dave Kleinfeld (Sean Penn).

All he wants to do is save enough money to leave town and retire in paradise.

Carlito reconnects with his aspiring actress/dancer girlfriend, Gail (Penelope Ann Miller) while young and dangerous gangster Benny Blanco (John Leguizamo) plots revenge on Carlito and Kleinfeld after being slighted.

Kleinfeld has also stolen money from a dangerous convict so that’s an added stressor for both him and Carlito.

The time is very odd. It’s supposed to be the 1970s as the musical score suggests as disco party music blasts during club scenes. The clothes and hairstyles somewhat align but there is a strange 1980s feel which is even stranger given the film was shot in the 1990s.

The chemistry between Pacino and Miller is okay but nothing terrific either although it grows during the film. At first, I wondered what they saw in one another but was slowly won over by the pair. By the end, I was rooting for them to ride off into paradise together.

The best part of Carlito’s Way is the final thirty minutes or so. On the run from the bad guys, Carlito and Gail decide to meet on a late-night train bound for Florida. There, they will forget their troubles and live happily ever after on the beach.

Oh, and by the way, Gail is now pregnant.

De Palma, as he usually does, creates a dazzling climax. I was mesmerized by the cat-and-mouse chase scenes and what Grand Central looked like in the early 1990s when the film was shot. And there’s also the terrific running from subway car to subway car chase scene just like in Dressed to Kill.

As an aside, Pacino who is Italian is playing a Puerto Rican character. One character comments that Carlito could almost pass for an Italian. Given Pacino’s heritage in the very Italian Godfather films, this is an anecdote that made me chuckle.

Penn and Pacino give it their all and craft unusual characters, especially Penn, and it’s a delight seeing great actors play off of one another.

Carlito’s Way (1993) has some hits and some misses and borrows heavily from similar films including De Palma’s films. This too often makes it become a comparison film rather than containing its own identity.

2011 Films, Adam Sandler, Al Pacino, Caitlyn Jenner, Christie Brinkley, Comedy, Dan Patrick, Dana Carvey, David Spade, Dennis Dugan, Drew Carey, John McEnroe, Johnny Depp, Katie Holmes, Kristin Davis, Lowest Rated Films, Norm Macdonald, Regis Philbin, Shaquille O'Neal, Tim Meadows, Valerie Mahaffey

Jack and Jill-2011

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Jack and Jill-2011

Director Dennis Dugan

Starring Adam Sandler, Al Pacino, Katie Holmes

Scott’s Review #1,171

Reviewed August 16, 2021

Grade: F

Typically, an actor playing a dual role is a challenging and rewarding experience for the actor and leads to accolades for a challenge well met. While Adam Sandler may have been challenged, it’s the audience who suffers tremendously.

I can think of no redeeming qualities to mention during this review.

Anyone who watches Jack and Jill (2011) will be made to ache for the duration of the running time or either scramble for the theater exit or pound the stop button on the remote control.

Jack and Jill (2011) is the worst film Sandler has ever made with a screeching over-the-top performance and terrible writing.

The additions of New York and Jewish stereotypes and every other stereotype in the book meant for laughs instead exude annoyance and disrespect.

To make matters worse, Al Pacino appears in a supporting role well beneath him and plays himself. And reaching an assured low, the actor is forced to rap. How embarrassing for him.

Poor Katie Holmes has little to do since she is trapped in the one-dimensional ‘wife role’.

Bad decision-making by writers, producers, and actors. Perhaps the makeup people enjoyed themselves.

The premise offers the possibility that the film could be hysterical or at least partially amusing. Well-known actors dressing in drag and put in uncompromisingly awkward situations is nothing new and has been met with success.

Some Like it Hot (1959) and Tootsie (1982) are classics resulting in kudos for Jack Lemmon, Tony Curtis, and Dustin Hoffman respectively.

The main issue with Jack and Jill is that the writing stinks.

Never a fan of the Sandler and director Dennis Dugan slapstick collaborations, let’s hope this drivel led to better acting choices for the actor.

He would later star in the superb Uncut Gems (2019) and miss out on an Oscar nomination by a whisker. I hope nobody saw Jack and Jill and revoked a vote for Sandler though I couldn’t blame them if they did.

Let’s hope Sandler learned his lesson with this film. He must have since his films vastly improved after this one.

Los Angeles advertising executive Jack (Adam Sandler) dreads the Thanksgiving holiday because his overbearing twin sister, Jill (also played by Sandler), makes her annual visit from New York City.

When Jack and his sister immediately butt heads, Jack feels guilty, and the only way to make it right is to invite her to stay through Hanukkah.

When actor Al Pacino (Al Pacino), whom Jack desperately needs to star in a commercial, becomes obsessed with Jill, Jack may be forced to extend his sister’s visit even longer to get what he wants. Jack’s gardener, Felipe (Eugenio Derbez) also takes a shine to Jill.

Everything about the film is pretty bad but let’s point out the highlights…..or lowlights.

Sandler plays Jill as obnoxiously as possible and in predictable form, Jack must disguise himself as Jill. Gee, I never saw that coming. Why any man, let alone two (Al and Felipe), would become enamored with her is beyond me.

Jack’s wife Erin (Holmes) and kids are as cookie-cutter as imaginable and possess every ‘neat and clean’ characteristic in the books. They are as white bread as wonder bread.

To match the stereotypes why does Felipe have to be Mexican? It’s as if Dugan and Sandler (who co-wrote the screenplay) wanted every cliche imaginable.

Jill conquers Los Angeles with appearances on The Price is Right, attendance at a Lakers game, and a cruise.

The film’s conclusion, after a myriad of expected misunderstandings between Jack and Jill, and Jill and Al, results in a silly New Year’s Eve high school reunion back in New York with classmates and bullies.

To confirm how bad Jack and Jill (2011) is at the 32nd Golden Raspberry Awards, it won all categories, a first in the thirty-two-year history of the annual parody event.

This is a film to be buried six feet under.

2019 Films, Al Pacino, Anna Paquin, Bobby Cannavale, Crime Drama, Dascha Polanco, Drama, Epic, Harvey Keitel, Jesse Plemons, Joe Pesci, Marin Ireland, Martin Scorsese, Mob, Ray Romano, Robert De Niro, Sebastian Maniscalco, Stephen Graham, Steven Van Zandt

The Irishman-2019

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The Irishman-2019

Director Martin Scorsese

Starring Robert De Niro, Al Pacino, Joe Pesci

Scott’s Review #960

Reviewed November 20, 2019

Grade: A

Any film created by legendary director Martin Scorsese is sure to impress legions of adoring followers and most critics.

Every project he touches results in something fantastic, and it’s easy to revel in, with good analysis and discussion about the movie moments after the closing credits have rolled.

The Irishman (2019) is a film that demands repeated viewings and thoughtful consideration to appreciate the rich and diverse cast of characters fully.

The picture may not be on the same level as Goodfellas (1990) or The Godfather (1972), which it seems patterned after, but the work is awe-inspiring and should stand the test of time, resulting in a fine wine analogy.

The years will likely be kind to the film and enrich the experience- it’s that kind of film.

With stars like Robert De Niro, Al Pacino, Joe Pesci, and Harvey Keitel on board, the viewer expects a plethora of riches, and that is precisely what is delivered.

The film spans the period from the 1950s to the 1970s.

It follows the life of Frank Sheeran (De Niro), a truck driver who becomes a hitman and becomes involved with mobster Russell Bufalino (Pesci) and his crime family, including his time working for the powerful Teamster Jimmy Hoffa (Pacino). Sheeran is dubbed “the Irishman”.

He narrates much of the story, now quite elderly and residing in a nursing home, of his time in the mafia and the mystery surrounding the death of Hoffa.

The only negatives to the film are the suspension of disbelief that De Niro is Irish – was there ever a more quintessential Italian New Yorker? However, this film is directed by Scorsese and produced by De Niro, so they could tell me the sky is green, and I would readily nod in agreement.

At three hours and twenty-nine minutes, the film is a long haul, and towards the middle, the film meanders a bit. Perhaps twenty or thirty minutes could have been sliced to the cutting room floor.

The rest of the experience The Irishman serves up is brilliance, with rich characters and a fantastic atmosphere. Have I mentioned that Scorsese directed this film? The cast of characters is endless and drips with zest, speaking volumes for what The Godfather did with casting.

Many recognizable actors appear in minor roles, like Ray Romano as attorney Bill Bufalino, Bobby Cannavale as “Skinny Razor”, and Anna Paquin as Frank’s estranged daughter, Peggy.

An endless supply of character actors fleshes out the remaining cast.

Excellent is the plethora of food references that would impress notable food director Alfred Hitchcock, known for incorporating meals into many of his scenes. The delectable early scenes, when Frank delivers meat to grocers and gets into a discussion with a gangster over a good steak, will leave viewers mouth-watering for a tender sirloin.

The conversations between characters are interesting, slowly building and adding robust grit to a packed film. They engage in good, thoughtful dialogue exchanges and discuss life and experiences matter-of-factly.

Characters are given a chance to develop and grow, and even minor characters, such as a nurse or a wife, add a comforting aura. It is evident what treasured films look like when a director can create and develop without outside interference.

The standouts in the acting department are Pacino and De Niro, the former of whom I’m crossing my fingers will receive an Oscar nomination.

The pairing is flawless, and eagle-eyed fans will recall that both actors appeared together in The Godfather Part II (1974) yet never shared a scene.

In The Irishman, they appear together in pivotal scenes. Pacino infuses Hoffa with humor and poise, as only Pacino can, in a character. He is my favorite character and is tough to look away from.

Both actors, along with Pesci, are treated to a recent marvel in cinema —the de-aging process. Each actor, well into his seventies, is transformed to appear in his mid-forties in many scenes and then aged to appear elderly later in life.

While each has a strange, unnatural look as a younger man, the process is impressive and an innovative technique that will surely become more common in film, subsequently offering limitless possibilities.

The Irishman (2019) is a cinematic gem by a storied director advancing in years, but still offering grandiose films. With stalwarts like De Niro, Pesci, and Pacino, the players are well cast, and nuanced touches add dimensions to the finished product.

Offering a gangster film with grace and style, the story is poignant and crisp, and a thoughtful approach to one of the legendary mysteries- what happened to Jimmy Hoffa?

Oscar Nominations: Best Picture, Best Director-Martin Scorsese, Best Supporting Actor-Al Pacino, Joe Pesci, Best Adapted Screenplay, Best Production Design, Best Cinematography, Best Costume Design, Best Film Editing, Best Visual Effects

1990 Films, Al Pacino, Andy Garcia, Bridget Fonda, Diane Keaton, Eli Wallach, Epic, Francis Ford Coppola, Gia Coppola, Mario Puzo, Mob, Sofia Coppola, Talia Shire

The Godfather: Part III-1990

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The Godfather: Part III-1990

Director Francis Ford Coppola

Starring Al Pacino, Diane Keaton, Andy Garcia

Scott’s Review #533

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Reviewed December 3, 2016

Grade: B+

The Godfather: Part III, released in 1990, has traditionally been met with unwavering criticisms for not being as great as the two preceding epics.

Sofia Coppola, who plays Mary- daughter of Michael Corleone, in particular, has bared the brunt of the attacks.

No, The Godfather: Part III is not on the level of the others, but is pretty damned good based on its own merits and is a capable mob epic to conclude the franchise satisfyingly.

The central theme is Michael’s continued desire to leave the mafia and religion, and the Catholic Church are central themes of the film.

Some backstory to the making of the film; Coppola had a non-expiring offer to create a third installment to the saga ever since 1974 when Part II was released.

Having had a financial crisis, 1990 was the time Coppola agreed to do the follow-up.

The ever-crucial role of Mary (now a coming-of-age young lady) was to be played by Julia Roberts, who dropped out. Winona Ryder was then cast and bailed at the very last minute.

Out of necessity, Coppola’s daughter Sofia was cast and had little time to prepare or much acting experience (she would later become an acclaimed director, which better suited her talents).

In a similar fashion to the other epics, a big event launches the film, as Michael (Pacino) is named Commander of the Order of Saint Sebastian in a lavish ceremony at St. Patrick’s Old Cathedral.

It is revealed that Michael is approaching age sixty and semi-retired, leaving his business dealings mainly to Joey Zasa in New York, who has ravaged what the Corleone family had once built.

Many characters- Kay, Mary, Tony, and Connie, are re-introduced, and new characters such as Vincent Mancini (Andy Garcia) and Don Altobello (Eli Wallach) are introduced, in a flurry of new storylines.

It is like a big, grand, soap opera, with wonderful, rich, writing.

I was immediately impressed by the neat cinematography- the camera captures wind-swept leaves and an artistic introduction to the film, as well as either mentioned or appearing in cameo roles, small characters from the first two films- a great touch in continuity and history.

Coppola does a fantastic job of providing little updates on these characters during a party. For example, we learn that Vincent is the deceased, illegitimate son of Sonny, his mother being Lucy Mancini, who appears in a scene. (Clever viewers will remember Sonny and Lucy’s torrent affair in the bathroom during The Godfather-it is suggested that this produced Vincent).

It is mentioned that Tom Hagen (Robert Duvall) has died, though his wife and son appear, and Coppola treats us to a myriad of flashbacks (Apollonia, a young Michael, and Kaye).

These nuances make The Godfather: Part III filled with cool little aspects that fill the loyal viewer with warmth.

The main story- Michael takes Vincent under his wing- and strives to steer the family clear of criminal ties- is interesting, if not spectacular. Connie rises from a battered mafia wife, raising kids, to a major player in the family, just as women progressed from the 1940s to the 1980s when the story takes place.

She even feeds her godfather a poisoned cannoli!

Michael, Vincent, and Connie involve themselves with the Catholic Church, bailing them out (the real-life Papal banking scandal is linked to the story) and making a deal with them for major shares of a real estate company, Immobiliare.

In-fighting between the major crime mob bosses leads to several bloody massacres throughout the film, on the streets, in Atlantic City, and finally, in the Sicilian Opera house.

The pairing of cousins and lovers, Vincent and Mary, never really works, nor does Bridget Fonda’s one-two-scene appearance as Grace Hamilton, a brief dalliance for Vincent. Also, the exclusion of the character of loyal family attorney Tom is a glaring omission.

So the film does contain a few negatives.

In a nutshell, The Godfather: Part III (1990) is a very good, epic, crime drama even without the Godfather name. To measure up to the glory of Parts I and II are impossible.

With the bonus of having the rich Corleone family history and the intricate relationships between the characters, this makes for a treat for fans.

There has not been a Part IV, nor should there ever need to be as the conclusion of the film is a satisfying wrap-up to the saga.

Oscar Nominations: Best Picture, Best Director-Francis Ford Coppola, Best Supporting Actor-Andy Garcia, Best Original Song-“Promise Me You’ll Remember”, Best Art Direction, Best Cinematography, Best Film Editing

1983 Films, Al Pacino, Brian De Palma, Charles Durning, David R. Ellis, F. Murray Abraham, Gregg Henry, Mary Elizabeth Mastrantonio, Michelle Pfeiffer, Mob, Oliver Stone

Scarface-1983

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Scarface-1983

Director Brian De Palma

Starring Al Pacino

Scott’s Review #191

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Reviewed November 13, 2014

Grade: B

Scarface is a 1983 mob film directed by Brian De Palma and is an atypical film for the acclaimed director of several stylistic thrillers such as Dressed to Kill (1980), Sisters (1973), and Carrie (1976).

The subject matter centers on the mob and the world of drug trafficking, in this case, cocaine, a very popular, powerful drug that ran rampant throughout the 1980s.

Jealousy, greed, and deceit are common characteristics of Scarface and the story focuses on a temperamental, cocky, and arrogant Cuban refuge sent to Miami by Fidel Castro, as a way of banishing criminals from Cuba and shipping them off to the United States to survive on their own.

Tony Montana, played by Al Pacino, goes from dishwasher to crime lord by selling drugs and creating an empire for himself.

He manipulates, tricks, and makes enemies left and right including stealing his boss’s girlfriend (Michelle Pfeiffer) and eventually falling into a troubled marriage with her.

He loves his financially struggling mother and sister, giving them money and opening a salon for his sister, but he also controls them, especially his sister, and is filled with rage whenever she attracts the affection of a potential suitor.

In his mind, nobody is good enough for her and he is filled with machismo and over-protectiveness. Tony eventually self-destructs due to jealousy, rage, and heavy drug use.

I found the film overall quite compelling but kept thinking to myself how much it resembles a light version of The Godfather (1972) or Part II (1974) and Goodfellas (1990).

I am fully aware that Scarface preceded Goodfellas, but seeing it for the first time in 2014 this was my initial reaction.

I was also kept aware of the fact that it must have been influential in the creation of the popular NBC television series Miami Vice, which debuted a year or two after Scarface was released.

Similarities such as crime lords, Miami Beach, and drugs mirrored the slick feel of the hit television drama as well as the look, style, and fashions.

The performance of Al Pacino is problematic- in my view, this is not at all his best work. For starters, his accent keeps going in and out and I found him slightly unbelievable in the role. A phenomenal actor, something with his performance did not sit well.

The musical score to the film is cheesy- almost shockingly so. Granted this was 1983, but the silly dance beats sporadic throughout now seem completely dated.

Parts of Scarface dragged a bit, however, a sudden dramatic scene (the dismembering of Tony’s friend by mobsters and Tony’s meltdown in a fancy restaurant) more than makeup for the occasional lags in drama.

Scarface (1983) is not on the level of other contemporary violent mob films, but for fans of the genre, it will be enjoyed.