The Untouchables

More so than a movie, more so than a story, this flick is an entertainment. It can hardly be called flawless, but when you’re watching it you really couldn’t care less, because it is so engaging. Those flaws come largely—and somewhat ironically given the screenwriter’s reputation for a smartly crafted story—from David Mamet’s script, which indulges in a lot of bland exposition in its dialogue and plays fast and loose not only with the history, but also with just plain good storytelling. Despite his legendary arrogance about his craft, this work suggests Mamet doesn’t merit the rep. So if the storytelling is less than Grade A, why then does this movie work so well? Chalk it up to a host of likable characters, truly exceptional production design—everything looks fabulous, from the Armani clothes to the period cars to the detailed build of every inhabited space—and a plethora of fantastic scenes, including great, well-choreographed action sequences, impressive visuals (director Brian de Palma’s handiwork), and a whole catalog of memorable lines. Get enough of those goodies together and an audience will forgive a movie’s flaws. (One extra perspective added by re-watching this film in 2026: just how much Robert De Niro’s Al Capone stirs up echoes of a certain president.) I don’t know about untouchable, certainly not impeccable—but very, very watchable.